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Artificial Intelligence sound synthesis

The sound domain of Western music is no longer demarcated by the boundaries of traditional acoustic instruments. Nowadays, composers have the opportunity to create music with an infinite variety of sounds, ranging from those produced by acoustic devices and different types of mechanical excitation to electronically synthesised sounds. [Pg.157]

We do not claim that Artist s operational method is a replacement for graphic interfacing. On the contrary, we believe that both methods are complementary. Nevertheless, Artist s approach may be more suitable for a number of other applications where graphic interfacing alone does not suffice for example, for people with impaired visual, neurological or muscular abilities. [Pg.158]

In order to aid this process. Artist focuses on the provision of the following features  [Pg.159]

We suggest a method for the instrument design level which assumes that the vocabulary for sound description is intimately related to the architecture of the instrument. If one wishes to manipulate the vibrato quality of sounds, for example, it is obvious that the vibrato generator must be available for operation. As far as the sound design level is concerned, the user is required to know a few basic Artist operational commands, the capabilities of the instrument at hand and the available vocabulary for sound description. [Pg.160]

Artist requires relatively sophisticated means to store and process data. It is not only a matter of storing synthesis parameter values in a traditional database Artist must also store knowledge of sound synthesis as well as knowledge of the system itself (for example, the structure of the instrument, the role of each s)mthesis parameter and the meaning of the vocabulary in terms of synthesis parameter values, to cite but a few). [Pg.160]


The art of sound synthesis is as important for the electronic musician as the art of orchestration is for composers of symphonic music. Both arts deal with creating sonorities for musical composition. The main difference between them is that the former may also involve the creation of the instruments themselves. Those who desire to make their own virtual orchestra of electronic instruments and produce new original sounds will find this book very useful. It examines the functioning of a variety of synthesis techniques and illustrates how to turn a personal computer into a powerful and flexible sound synthesiser. The book also discusses a number of ongoing developments that may play an important role in the future of electronic music making, including the use of artificial intelligence techniques in synthesis software and parallel computers. [Pg.280]


See other pages where Artificial Intelligence sound synthesis is mentioned: [Pg.157]    [Pg.157]    [Pg.9]    [Pg.158]    [Pg.158]    [Pg.278]    [Pg.1]    [Pg.1]   


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