6. MULTIMEDIA
6.1 Media merge – sound, moving images, etc. [DT]
The vOICe!
synesthetic sound & vision
http://www.seeingwithsound.com/
6.2 Visible Sound [DA]
Visible Sound provides a 3-dimensional, colorful, visual representation of the sounds heard by the iPad’s microphone or an attached audio headset. Unlike other audio visualizers, which all too often consist of pre-programmed, mostly meaningless graphics that only loosely correspond to the music being played, Visible Sound creates all graphics completely on-the-fly from the sound itself.
This means you can see every drum beat, every vocal solo, every musical feature represented on the screen.
The Visible Sound visualization is so detailed, you could theoretically use it to reproduce the original sound being displayed. Visible Sound is also great for playing and experimenting with – see the frequency content of your voice, your dog’s bark, your doorbell, or a coin rattling as it falls to the ground. You can continue to play music from the iPod app, Pandora, etc. while Visible Sound is running, or use it with any other source of audio.
Several color schemes may be selected for a different appearance, and to highlight different parts of the spectrum. The color schemes have been specifically chosen for visual appeal, clarity and visibility on the iPad screen.
Visible Sound uses the Fast Fourier Transform (FFT) to isolate the individual frequency components (essentially, the individual musical notes) in sound, and displays the intensity of each frequency using both color and 3-dimensional position.
Visible Sound works on both the iPad 1 and iPad 2. Despite the graphical complexity of the visualization, performance on the iPad 1 is just fine, and performance on the iPad 2 is even better. http://www.promusicapps.com/visible-sound-hd/
6.3 Musical Acoustics Research Library
New Digital Collection and Website
Stanford University Libraries has provided digital access to large portions of
the Musical Acoustics Research Library (MARL) making available important
research papers from some of the most eminent acousticians of the 20th century (http://www.oac.cdlib.org/findaid/ark:/13030/kt6h4nf6qc/). The MARL collection consisting of nearly 60 linear feet of materials is dedicated to the study of all aspects of
musical acoustics. MARL consists of the research materials from acousticians around the world who were dedicated to studying different aspects of violin making, which make up the Catgut Acoustical Society papers, and the archives of three prominent wind
instrument acousticians, John Backus, John W. Coltman, and especially Arthur H.
Benade.
Benade’s work extends far beyond the study of wind instruments and includes the acoustic properties of a performer’s mouth cavity, throat, and lungs; the sound patterns that emerge from the open holes and bells of instruments and the sound a space
returns to an instrument; the perception of hearing; and room acoustics and the
successful design of concert halls.
In addition to the MARL, the entire forty-one years of the Newsletter
and Journal of the Catgut Acoustical Society are completely available
online (http://www.oac.cdlib.org/findaid/ark:/13030/c8gt5p1r/). The
Catgut Acoustical Society was formed by acousticians interested in the
acoustics of the violin and other string instruments. The title changed to the Journal of the Catgut Acoustical Society in 1984 and again in 1990 to CAS Journal, ending in 2004 when the Society merged with the Violin Society of America as the CAS Forum.
Jerry McBride, Head Librarian, Music Library and Archive of Recorded Sound, Braun Music Center, Stanford University, 650-725-1146, 650-384-9817 (mobile)
6.1 Media merge – sound, moving images, etc. [DT]
The vOICe!
synesthetic sound & vision
http://www.seeingwithsound.com/
6.2 Visible Sound [DA]
Visible Sound provides a 3-dimensional, colorful, visual representation of the sounds heard by the iPad’s microphone or an attached audio headset. Unlike other audio visualizers, which all too often consist of pre-programmed, mostly meaningless graphics that only loosely correspond to the music being played, Visible Sound creates all graphics completely on-the-fly from the sound itself.
This means you can see every drum beat, every vocal solo, every musical feature represented on the screen.
The Visible Sound visualization is so detailed, you could theoretically use it to reproduce the original sound being displayed. Visible Sound is also great for playing and experimenting with – see the frequency content of your voice, your dog’s bark, your doorbell, or a coin rattling as it falls to the ground. You can continue to play music from the iPod app, Pandora, etc. while Visible Sound is running, or use it with any other source of audio.
Several color schemes may be selected for a different appearance, and to highlight different parts of the spectrum. The color schemes have been specifically chosen for visual appeal, clarity and visibility on the iPad screen.
Visible Sound uses the Fast Fourier Transform (FFT) to isolate the individual frequency components (essentially, the individual musical notes) in sound, and displays the intensity of each frequency using both color and 3-dimensional position.
Visible Sound works on both the iPad 1 and iPad 2. Despite the graphical complexity of the visualization, performance on the iPad 1 is just fine, and performance on the iPad 2 is even better. http://www.promusicapps.com/visible-sound-hd/
6.3 Musical Acoustics Research Library
New Digital Collection and Website
Stanford University Libraries has provided digital access to large portions of
the Musical Acoustics Research Library (MARL) making available important
research papers from some of the most eminent acousticians of the 20th century (http://www.oac.cdlib.org/findaid/ark:/13030/kt6h4nf6qc/). The MARL collection consisting of nearly 60 linear feet of materials is dedicated to the study of all aspects of
musical acoustics. MARL consists of the research materials from acousticians around the world who were dedicated to studying different aspects of violin making, which make up the Catgut Acoustical Society papers, and the archives of three prominent wind
instrument acousticians, John Backus, John W. Coltman, and especially Arthur H.
Benade.
Benade’s work extends far beyond the study of wind instruments and includes the acoustic properties of a performer’s mouth cavity, throat, and lungs; the sound patterns that emerge from the open holes and bells of instruments and the sound a space
returns to an instrument; the perception of hearing; and room acoustics and the
successful design of concert halls.
In addition to the MARL, the entire forty-one years of the Newsletter
and Journal of the Catgut Acoustical Society are completely available
online (http://www.oac.cdlib.org/findaid/ark:/13030/c8gt5p1r/). The
Catgut Acoustical Society was formed by acousticians interested in the
acoustics of the violin and other string instruments. The title changed to the Journal of the Catgut Acoustical Society in 1984 and again in 1990 to CAS Journal, ending in 2004 when the Society merged with the Violin Society of America as the CAS Forum.
Jerry McBride, Head Librarian, Music Library and Archive of Recorded Sound, Braun Music Center, Stanford University, 650-725-1146, 650-384-9817 (mobile)