برمجة الصوت
| برمجة الصوت | |
|---|---|
| مطور النشاط | ,|x|مطور::x}} |
| نبذة عنك | A graduate with a BSc in Audio Engineering and Music Production from London. My dissertation revolved around programming and synthesis and my interest in it grew with time |
| نوع النشاط | ,|x|نوع نشاط::x}} |
| مجال النشاط | في مجال::موسيقى وصوت |
| ملخص النشاط | بيور داتا, لغة برمجة تُستخدم لبناء برامج تتحكم بالصوت. بيور داتا يبني عناصر صوتية يمكن استخدامها وتعديلها بطريقة سهلة. في البداية سوف نتحدث عن طبيعة وفيزياء الصوت, ثم ننتقل الى نظرية الصوت وكيفية بناء نماذج أصوات. سنتكلم أيضاً عن العناصر والتقنيات اللتي يمكن إستخدامها في بيور داتا, وعن المراحل العدة اللتي يمكن بهاتحسين البرنامج المكتوب. |
| أهداف النشاط | The workshop aims to explore the basic principles of programming, creating and recreating sounds, effects and GUI (Graphical User Interface) objects. It takes a lot of time and work to synthesize real sounds from scratch but it allows us to recreate the ones that cannot be recorded; this expands the variety of techniques that a sound designer can use. Pure Data is very practical, it is easy to visualize the flow of everything in its code because it depends on creating sound objects that connect to other objects with actual wires turning the code to a chain of events, other programming languages usually depend on writing sentences that explain the chain to the computer using special commands and functions. Pd treats sound as a process not as data, you can change the properties of a sound object while it is playing like a live program and you can change the characteristics of the properties as well. This type of programming language helps us understand how softwares, plug-ins, synthesis, effects and signal flow works |
| المخرجات | The participants will create sound effects from scratch, synthesize actual real sounds and create their own interface |
| وسائل إيضاح | Pd intro.pdf |
| برمجة الصوت | |
|---|---|
| الفئة العمرية من | حد أدنى لفئة عمرية::18 |
| الفئة العمرية إلى | حد أقصى لفئة عمرية::100 |
| خلفية المشاركين | ممكن للمشاركين أن يكونوا مصممين صوت أو طلاب متخصصين بصناعة الألعاب, الأفلام, الرسوم المتحركة أو مبرمجين برامج الموسيقا. ممكن أن يشارك أي من كان في مجال الإعلام إذا كان فيه التحكم في الصوت حاجة أساسية. ممكن أن تكون ورشة العمل هذه ممتعة أيضاً للمهتمين بالبرمجة واللذين يبرمجون كهواية, لاكن معرفة البرمجة ليست شيئاً أساسي للمشاركة بهذه الورشة.
للتسجيل في هذه الورشة يجب أن يكون المشارك صبور, يجب أن يعرف كيفية إستخدام الحاسوب, أن يكون لديه علم بسيط في الفيزياء وبعضاً من اللغة الإنجليزية لفهم وتحليل العمليت الصوتية والكلمات المختصرة المكتوبة. من أهم الأشياء أن يكون لدى المشاركين لاب توب أو جهاز حاسوب في المنزل. |
| العدد الأدنى للمشاركين | حد أدنى لمشاركين:: |
| عدد أقصى للمشاركين | حد أقصى لمشاركين:: |
| طبيعة الدعوة | طبيعة دعوة::عامّة |
| برمجة الصوت | |
|---|---|
| من | تاريخ::2013/11/29 12:00:00 AM |
| حتى | تاريخ::2013/12/24 12:00:00 AM |
| برمجة الصوت | |
|---|---|
| من | تاريخ:: |
| حتى | تاريخ:: |
| برمجة الصوت | |
|---|---|
| من | تاريخ:: |
| حتى | تاريخ:: |
| برمجة الصوت | |
|---|---|
| من | تاريخ:: |
| حتى | تاريخ:: |
| برمجة الصوت | |
|---|---|
| من | تاريخ:: |
| حتى | تاريخ:: |
| جلسة برمجة الصوت | |
|---|---|
| مكان التنفيذ | ,|x|ميزة مكان::x}} |
| الإنجازات | ,|x|x}} |
| المعدات | ,|x|أداة::x}} |
| خامات | ,|x|خامة::x}} |
| مطبوعات | ,|X|20px|thumb|X}} |
| وسائل إيضاح | وسيلة إيضاح:: |
تحضير ما قبل الجلسة
placing examples made in class on each computer or a common usb that they can pass around at the beginning of each day
الخطوات التفصيلية للجلسة
DAY 1: - workshop introduction:
- course overview
30 mins --------
- installing and explaining what pure data is: pure data is an audio programming language that treats sound as a process not as data, it helps you visualize the signal flow of sound and explore sounds that have never been heard before.
- show video examples of what pure data can create as sounds, GUI's (graphical audio interfaces), and as MIDI based plug-ins.
30 mins -----
- fundamentals of sound: sound designers work with an incredible landscape that includes physics, math, psychology and culture. first we look at sound as a physical phenomenon, as vibration within materials that involves an exchange of energy that eventually reaches your ear, vibrates the ear drum sending messages to your brain that allow you to illustrate that sound. This will help you understand the idea behind acoustics and sound design especially which deals with distinguishing where any sound is coming from. mathematics plays an essential part for understanding how digital computers can make facsimile of real world dynamics, how synthesizers manipulate sound and how numbers effects computers.
sounds can be explained as the flow of energy in a system, beginning with a source and ending at the furthest reaches of the system where sound energy eventually becomes heat. somewhere in this system our ears or a microphone may observe the changing energy patters and pick it up. just like i explained how our ear picks up the wave and vibrates in order for us to hear it, same goes with the microphone, the waves energy vibrates a diaphragm in the microphone that eventually leads to the speakers to vibrate and back to our ears. imagine a pool table its like one ball carries the sound the other.
- characteristics of sound waves: The things that carry energy are called waves. regular amplitude or volume is measured between 0 and the peak displacement, either 1 or -1. peak to peak amplitude is called range, the wavelength is the measure between the closest two points with the same displacement moving in the same direction.The period (T) is the time it takes a wave to go through its rest point and come back again to that point, this is measured in seconds. Now the number of times a period passes in a second is the frequency(f), so basically f=1/T Hz. phase is when two waves overlap, that might cause the waves to act as constructive or destructive waves. if two waves are exactly similar and completely off phase by 180 degrees it causes the sound to disappear, if they were in phase it doubles up the volume.
- The speed of sound in air is 340 m/s, it goes faster in a liquid and even faster in solid.
1 hour ----
- oscillation of sound, acoustics and psychoacoustics oscillators are like mass on a spring, there is a force pulling them down and another force pulling them up, thats how oscillators work, Energy is exchanged between two unstable states, they can be the primary source of sound or they can be driven by another source of sound vibration. Acoustics is understanding how the sound behaves in the air up to the point it reaches our ears or a microphone. Radiation is the transfer of energy from a vibrating source to the surrounding medium, we assume that after radiating the sound has left the vibrating body. The amplitude of any particular frequency depends on the distance between two or more sources and on the superposition if it causes reinforcement or cancellation. loss of power and loss of energy by absorption are two different things, absorption happens because of imperfect propagation that turns the sound energy to heat. There are other propagation effects, there is reflection; when a sound reflects off a hard surface, for example a room that consists of parallel walls reflects sound back and forth causing standing waves which causes echo. Another propagation effect is scattering, when a wave hits an obstacle and scatters in all direction, this helps in treating rooms with echo. Each absorbing object deals with certain frequencies, so when you deal with room acoustics you have to know the properties of each object you have in the studio. Reflecting and dispersing objects deal more with high frequency sounds, reflecting walls should never face the speakers, there should be scattering and absorbing objects instead so you would avoid standing waves. Low frequencies have big wavelengths and high frequencies have small ones, try to imagine how low frequencies move and spread around the room because they have big waves while high frequencies move in a straight direction. psychoacoustics deals with how we perceive sound, it deals with how our brain translates amplitude and frequency to loudness and pitch. The main parts of the ears are the pinna, meatus and lobes. The pinna is the human amplifier and the filter for locating sounds. the meatus connects and separates the outer and inner ear, it is also a resonant cavity around 2kHz which helps to amplify speech. The lobes are not really understood yet but they seem to act as dampers on the pinna at certain frequencies and they might have a role in our sense of balance. The eardrum acts as the main transducer that converts air pressure waves into vibrations in the middle ear. Now when you close your eyes you can localize sound, know where it is coming from, that depends on intramural time difference (ITD) and intramural intensity difference (IID). ITD is the time difference between the arrival of the same sound at each ear. IID deals with the loudness, if the sound is louder in the right ear it is most likely located on the right. IID and ITD also help us illustrate the front from the back, since the pinna acts as an amplifier when the sound is coming directly into it, it acts as an obstacle when the sound is coming from the rear because it has to go around the pinna and into the ear. The progression of a wave can be taken as an envelope which consists of an attack, decay, sustain and release (ADSR). The attack is the beginning of a sound where it moves from zero to the maximum energy, for percussive sounds the attack is very quick, in bowed strings the attack would be very long which causes the amplitude to increase gradually. decay is when it moves from the maximum energy to the back down to the sustain which produces a stead sound output. Finally the release which is the ending of the sound as it goes down from the sustain back to rest.
30 mins ---
- digital signals: transducers convert changes in one kind of energy to changes in another kind, like a video camera encodes changes in light into electrical signals microphones encode changes in air pressure into electrical signals that can be transformed to binary numbers on a computer. Computers deal with ones and zeros to represent data or sound, this is called analog to digital conversion, digital to analog conversion does exactly the opposite, it changes those binary numbers back into sound. So to make sounds we send streams of numbers wrapped up in blocks. The sound of zero is silent and the sound of one is constant, if there is a stream of blocks being sent beginning in a row of zeros followed by a row of ones then back to zeros that will create a square shape. If we go up steadily by 0.001 steps between 0 and 1 this will create a signal that moves upwards like a phasor signal. Lets talk a bit about noise, noise makes the whooshing sound on TV and it has a random number for every sample, if the numbers are completely random we call it white noise. The range of random values is between -1 and 1 so white noise is symmetrical.
- basic pure data tools and data flow explanation: Objects are represented as boxes in Pure Data, they can be perceived as musical boxes, they receive stuff through inlets and send stuff through outlets. inlets are on the top of object boxes and outlets are on the bottom. Each object performs a simple function and has a name in its box that identifies what it does. The connections between those objects are called cords or wires, they connect the outlet of one object to the inlet of the other. A collection of objects wired together is called a patch or a program, lets create our first patch in PD?
A canvas is the window on which you place objects and create patches. To place an object on the canvas select put from the top of the screen and press on object, you can also use control+1 or in mac command+1. a dotted box will appear, type the name of the new object, like multiplication (*), and press anywhere on the canvas, watch how the dotted box turns to a normal box and how it creates inlets and outlets, if the object that you place is unknown for Pure data the dotted box will stay dotted. Now add another addition object box, contains a (+) and connect the output of the multiplication box to the input of the addition box.
Most objects take some parameter or argument that controls the objects function. They can contain no argument if you insert an argument to them through the right inlet, which is the cold inlet. Now modify the code that we wrote to have the argument of the multiplication be 5 and of the addition to be 3. Now lets go to the put menu again, there is something called the number box which can act as input devices to generate numbers or to display numbers after receiving information. You can also create the number box through control+3 or command+3. Now how about we put a number box under the +3 and over the *5, connect the output of the upper number box to the input of the *5 and connect the +3 object to the input of the number box. Now fill up the upper box with any number and watch how the result appears on the lower number box. you are going to need to change to edit mode to be able to insert a number in the number box, now to toggle you press control+e or command+e or you select edit mode from the edit menu on the top.
There are horizontal and vertical sliders, they can be used by assigning the range of numbers they have in each faders properties. They have inputs and outputs as well so numbers can control the faders and move them as well as faders can control numbers. try creating a fader, place the range numbers as anything you like and connect the output of the fader to the equation that we have and see how when you play with the fader the result number changes.
1 hour -----
ملاحظات (قبل و/أو بعد الجلسة)
- recreating sounds through out workshop: recreate artificial sounds like pedestrian, phone tone, phone button tones, alarm generator and police siren. recreate Idiophonic sounds (sound that is created by interaction between objects like hits, scratches, rubbing, etc…): telephone bell, bouncing ball, rolling ball, creaking door and a spring boing sound. recreate natural sounds like fire, bubbles, running water, pouring water, rain, electricity, thunder and wind. recreate machine sounds like switches, clocks, motors, cars, fans, jet engines and helicopters. recreate lifeforms like footsteps, insects, birds and mammals recreate mayhem like guns, explosions and rocket launcher recreate sci-fi sounds: transporter, R2D2, red alert, cover image sources
| جلسة برمجة الصوت | |
|---|---|
| مكان التنفيذ | ,|x|ميزة مكان::x}} |
| الإنجازات | ,|x|x}} |
| المعدات | ,|x|أداة::x}} |
| خامات | ,|x|خامة::x}} |
| مطبوعات | ,|X|20px|thumb|X}} |
| وسائل إيضاح | وسيلة إيضاح:: |
تحضير ما قبل الجلسة
الخطوات التفصيلية للجلسة
ملاحظات (قبل و/أو بعد الجلسة)
| جلسة برمجة الصوت | |
|---|---|
| مكان التنفيذ | ,|x|ميزة مكان::x}} |
| الإنجازات | ,|x|x}} |
| المعدات | ,|x|أداة::x}} |
| خامات | ,|x|خامة::x}} |
| مطبوعات | ,|X|20px|thumb|X}} |
| وسائل إيضاح | وسيلة إيضاح:: |
تحضير ما قبل الجلسة
الخطوات التفصيلية للجلسة
ملاحظات (قبل و/أو بعد الجلسة)
| جلسة برمجة الصوت | |
|---|---|
| مكان التنفيذ | ,|x|ميزة مكان::x}} |
| الإنجازات | ,|x|x}} |
| المعدات | ,|x|أداة::x}} |
| خامات | ,|x|خامة::x}} |
| مطبوعات | ,|X|20px|thumb|X}} |
| وسائل إيضاح | وسيلة إيضاح:: |
تحضير ما قبل الجلسة
الخطوات التفصيلية للجلسة
ملاحظات (قبل و/أو بعد الجلسة)
| تقييم النشاط | |
|---|---|
| تقييم المشاركين للنشاط | |
| مؤشرات نجاح أو فشل النشاط وإقتراحات لتطويره: | |
| ملاحظات اخرى |
