Use your own spectral algorithm with spectral analysis/resynthesis and the spectral assistant example code. Separate transient and steady-state components with the spectral extractor. Noise reduction, spectral expansion or compression with the spectral dynamics processor. Cross-synthesis between two soundfiles with soundfile convolution, ring modulation or spectral mutation. Time stretching or pitch shifting with the phase vocoder or varispeed. These functions make SoundHack invaluable to computer musicians, sound effects designers, multimedia artists, webmasters and anyone else who enjoys working with sound. It performs many utility and esoteric sound processing functions available nowhere else. Getting started with FScape from Sciss on Vimeo.SoundHack is a soundfile processing program for the Macintosh. The following 14 minute screencast should allow you to get started with FScape: a sound could be first translated into the Fourier domain before applying other algorithms which you would normally reason about in the time domain, or processes could be repeated over and over again). At the same time, the repertoire is virtually unlimited, as the modules can be combined in ever new ways (e.g. FScape is used by composers worldwide and is also suitable for teaching, as the basic setup is fairly simple and some modules quickly provide rewarding results with minimum prior knowledge. For instance, in my piece «Inter-Play / Re-Sound», parts of the past improvisation – which is record continuously – are picked out, transformed and re-injected, after only a few seconds of processing, as new material for the ongoing piece.Īlthough many modules have close relationships with particular pieces I wrote, they nevertheless form a universal toolkit for any work on concrete sounds. There are many processes, however, which run hundred times faster than real-time, opening intesting applications for the embedding (using an OSC interface) of FScape in real-time improvisation or installations. This allows on the one hand to access the sounds in a non linear fashion, but also facilitates complex calculations which even today would not be possible in real-time speed. "resource-rich and highly recommended for anyone looking for some wild ways to bend, fold, spindle, and mutilate audio." (Dave Phillips for Linux Journal)įScape received the 2014 LoMus award of the Association Française d’Informatique Musicale (AFIM).Ī peculiarity is the fact that all modules operate in non real-time. The sounds I'm getting out of it so far have been killer. "It feels like a cross between SoundHack, Syd, and Argeiphontes Lyre. Highly useful within sound design." (filmcrewpro) "Can be used to manipulate audio into weird and wonderful sounds. Many of the processes and their ways of parametrisation are unique. From simple utilities such as separating channels, normalising, cutting and splicing sounds, through various DSP and filtering algorithms to more complex algorithmic units which take a sound, analyse it, and rearrange it in new forms. Today FScape consists of around fifty independent modules for rendering audio files. Originally it started as an extension to Tom Erbe's SoundHack, providing 'spectral operators'. 
It leads like a red thread throughout my musical work, by conceiving sound as a 'clay', a flexible, sculptural mass. The development of FScape began in the year 2000 (happy 14th anniversary!).
0 kommentar(er)
