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<audiocourses> HI mike
<mike_nostradamaus> good day!Just drove 130 miles out of the bush to be here
<audiocourses> wow that's impressive Mike, may i ask what you were doing IN the bush?
<mike_nostradamaus> I have  a summer cottage on a lake 130 miles from heremNeed to take a boat to get to and from.
<audiocourses> sounds wonderful Mike
<mike_nostradamaus> I drove here on a roadway
<audiocourses> I'm envious
<mike_nostradamaus> Its nice! I just bought a parabolic dish mike and tryed it out but never recorded nothing yet quite neat.
<audiocourses> So how far you think the range is on that?
<mike_nostradamaus> the range is 300 feet
<audiocourses> neat
<mike_nostradamaus> I tried it on a river and more than 300 nothing but you get to close to your subject you have to adjust the freq.
<audiocourses> do you?
<mike_nostradamaus> It like having its ouw eq on it
<mike_nostradamaus> It hooks up to a recorder like my laptop and this thing is in stereo neat!
<audiocourses> It is stereo?
<mike_nostradamaus> What happened to the rest of the gang?
<audiocourses> NO idea..?
<audiocourses> slackers.
<mike_nostradamaus> yes stereo I thought it was mono but it comes out in stereo
<mike_nostradamaus> Must be a game on!!
<audiocourses> I think that may be your laptop? dividing the signal?
<mike_nostradamaus> It could be but the output jack is stereo I really haven't had the chance to reallly check that part outt
<audiocourses> Sounds good, maybe it tries to emulate the "head effect"
<audiocourses> the distance between the ears..
<mike_nostradamaus> my laptop is stereo and both signals go up at different levels from right to left
<audiocourses> so perhaps it has two diaphragms, just like two ears.
<mike_nostradamaus> I really can't see the mics there inside this dome on a six inch rod in the dish I 'd like to pull it apart and see how it works one of these days but does it ever pick up wildlife like birds and my dog snoring
<audiocourses> hehe brilliant fun by the sound of it
<mike_nostradamaus> question for you
<mike_nostradamaus> on the exam it asked about phasing  I don t have the question  its still packed in my bages I could'nt answer it because I looked for info and I couldn't find info on it can you help me out
<audiocourses> sure
<audiocourses> let me find the question again
<audiocourses> one
<audiocourses> sec
<mike_nostradamaus> thanks
<mike_nostradamaus> is phasing the one you can do manually?
<audiocourses> 15.   Describe how you could create a phasing effect on one track of a multitrack recording using two 3-head analogue tape recorders with varispeed capability (or two digital delays one of which has the ability to modulate the delay time with an LFO). The multitrack is a recent ADAT machine with the ability to delay individual tracks. (6 marks)
<audiocourses> this quesiton do you mean Mike?
<mike_nostradamaus> I think so there were two questions on it
<mike_nostradamaus> brb going to get my text
<audiocourses> ALTERNATIVE ANSWER 1: The signal to be given the phasing effect is fed to the two tape recorders. As the multitrack tape is played the signal is recorded on tape and outputs taken from the playback heads. The speed of one tape recorder is manually varied continuously slightly faster and slightly slower than normal speed. The outputs are mixed together creating the phasing effect.
<audiocourses>    ALTERNATIVE ANSWER 2: The signal to be given the phasing effect is fed to the two digital delays set to the same delay time. The delay time of one unit is modulated by the LFO. The outputs are mixed together creating the phasing effect.
<audiocourses>    IN BOTH CASES: Since the signal is delayed, all the other tracks on the multitrack must also be delayed.
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* Guest42702 is now known as aido
<aido> madeit at last-greetings
<audiocourses> Hel Aido
<audiocourses> oops hello Aido :)
<aido> hi-kept getting your old web site
<mike_nostradamaus> Thats what I thought.I have to read the question right because I could of got confused with  using two tracks and delaying one
<mike_nostradamaus> hello aido
<aido> hi mike
<mike_nostradamaus> how did things go this week?
<audiocourses> Aido yes it switches where there are connectivity probems, it's been sorted for a while
<aido> ah I thought I had connection probs alright
<audiocourses> not your end.
<audiocourses> Thanks for your exam papers they arrived.
<aido> and the verdict
<mike_nostradamaus> any how Chrish Thanks for the phasing lecture .
<audiocourses> Mike, does that answer your quesiton ok?
<mike_nostradamaus> yes
<audiocourses> I'll be posting up the model answers for the papers later.
<mike_nostradamaus> Chrish I tried with the Mt Iand man do I need to do more reading.i thought I new midi and sampling  but The questions I got I was tottaly lost
<audiocourses> Mike it is not easy
<aido> I felt the same at first
<audiocourses> I think this week needs to be a serious study week
<audiocourses> I will be online most of the week also if you need help
<mike_nostradamaus> I have answered some but your right a serious study week.I.m not leaving home ecept for work until the exams
<aido> do you have any of last few years papers
<audiocourses> My advice is to take each week that we have done and spend a day on each
<mike_nostradamaus> yes
<audiocourses> Would you like some more questions now mike?
<audiocourses> aido?
<aido> ok
<audiocourses> ok
<mike_nostradamaus> ok
<audiocourses> DelayIf the tempo of a track is 120 BPM, what delay should be set to give eighth note (quaver) repeats?
<audiocourses> Thta should get your brains going :)
<audiocourses> anyone?
<aido> 60000 divided by 120 multiplied by 4?
<audiocourses> Mike have you got an idea?
* audiocourses changes topic to 'Expand the mind'
<mike_nostradamaus> I get an ans like.0333333
<audiocourses> Ok lets break it down
<audiocourses> what does 120 BPM mean?
<aido> 120 beats per minout
<audiocourses> yes, ok mike?
<mike_nostradamaus> 120 bears per min
<audiocourses> lol
<mike_nostradamaus> beats
<audiocourses> or beavers
<mike_nostradamaus> sorry
<mike_nostradamaus> go ,on
<mike_nostradamaus> lol
<audiocourses> To calculate quarter note note delay, divide the tempo into 60,000.
<mike_nostradamaus> 500
<audiocourses> 60,000/120 = 500 yes
<audiocourses> Quarter note delay would therefore be 500ms.
<audiocourses> what does quater note mean?
<mike_nostradamaus> 4 notes per bar
<audiocourses> yes but what is the question asking us?
<mike_nostradamaus> ?
<aido> would eighth note be double a quarter
<audiocourses> 8th notes are half the duration of 1/4 notes.... twice as many in a bar
<aido> 1000 ms?
<audiocourses> that would be half notes
<aido> sorry-250ms
<audiocourses> yup
<mike_nostradamaus> the question is asking how long it last
<audiocourses> the question is asking how do you get repeats which are 1/8th notes.
<audiocourses> using a delay..  i.e. what do you dial into the box
<audiocourses> are you clear with this ?
<aido> yeah
<audiocourses> Mike?
<mike_nostradamaus> not yet
<audiocourses> Aido perhaps you could reiterate it for mike?
<audiocourses> or shall i?
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<audiocourses> Hi guest
* Guest08512 is now known as resol69
<audiocourses> HI Nancy :)
<resol69> Hi there.
<audiocourses> hi.
<aido> my understanding is that you divide 60000 by beats per minute and multiply by notes requiredob
<audiocourses> We are going through some questions Nancy
<mike_nostradamaus> say question again and i'll try
<mike_nostradamaus> hi nancy
<resol69> hi mike.
<audiocourses> OK Ill go through it again ok..
<aido> hi nancy
<audiocourses> I'll phrase it differently
<audiocourses> I am a producer
<resol69> Hi Aidan
<mike_nostradamaus> yes
<audiocourses> you are my engineer
<audiocourses> mike I want the ride cymbal that is being hit on each beat of a bar (four)
<audiocourses> to have an 1/8th note delay
<audiocourses> the BPM is 120
<audiocourses> can you use a digial delay please
<mike_nostradamaus> ok
<audiocourses> what do you do?
<mike_nostradamaus> 60000/120=500ms
<audiocourses> Yes but tel me what you are doing Mike
<mike_nostradamaus> taking 60000 ms dividing it by 120 beats per minute which will give me 500 ms per beat ok so far
<audiocourses> yes and that will produce a delay of what length?
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<audiocourses> hi guest
* Guest78690 is now known as ben_m
<mike_nostradamaus> anote at 1/8 should be 125 ms because take 500 ms is half 250 is quarter 125 is 1/8
<ben_m> hi everyone
<aido> hi ben
<resol69> Hi ben
<audiocourses> hi ben
<mike_nostradamaus> hi ben
<audiocourses> almost mike
<mike_nostradamaus> where did I go wrong?
<audiocourses> 500ms is 1/4 notes based on 120bpm right?
<mike_nostradamaus> yes
<audiocourses> therefore To calculate eighth note delay:500/2 = 250ms
<mike_nostradamaus> so 250ms should be 1/8
<mike_nostradamaus> ok
<audiocourses> yes mike.
<resol69> So we always assume that we are in 4/4 time for those questions?
<audiocourses> Yes Nancy
<audiocourses> How come we were late this week?
<audiocourses> Anyone confuzzzed with timings?
<resol69> 1900 GMT is 11am. Your message said 1900 GMT
<resol69> Last week was 1800 GMT
<mike_nostradamaus> brb
<audiocourses> Shit so it did
<audiocourses> lol
<resol69> So we are on time. ;)
<audiocourses> My apologies
<resol69> no problem :)
<audiocourses> OK shall we move on with questions?
<resol69> Should a commercial studio have a bar?
<aido> no
<resol69> I would say no, beause they would be responsible if there was a car accident or something.
<resol69> anyone disagree?
<ben_m> i think there is a case for having a bar at a studio
<audiocourses> The studio would be responsible? - home come nancy?
<resol69> For serving the alcohol.
<resol69> Bars get sued here sometimes.
<ben_m> really? uk its always drivers fault
<mike_nostradamaus> not allowed here
<audiocourses> Yes but why would the studio be responsible for the choice of someone taking a drink or not?
<aido> I think a location in a area with bars ,restaurants would be more appropriate-I wouldnt like to run a bar and a studio
<resol69> no, but that doesn't stop people from sueing.
<resol69> So the model answer would be yes?
<mike_nostradamaus> because the law in Canada  have the property owners responsible
<ben_m> i think from some points of view it may be easier if the artists are at least still in the studio complex rather than disappearing on week long benders!
<audiocourses> IN UK commercial studios have bars and restaurants, expecially location studios
<aido> that would close a lot of bars in Dublin
<resol69> So since the test givers are in England, we can say yes.
<mike_nostradamaus> So is nancy's anwer right
<audiocourses> Nancy, I find the concept of sueing a bar without reason. :)
<audiocourses> Nancy yes.
<resol69> I agree with you, but it still happens. We are sue-happy here in the US
<audiocourses> Very bizzare..
<mike_nostradamaus> Herr in Canada also
<audiocourses> OK I got more for you..
<aido> there was a case in Northern ireland where a customer fell off his stool and sued-he lost
<audiocourses> aido lol... i should hope so!
<ben_m> i bet that happens a lot in ireland aido!
<aido> his case was that the bar could see he was locked ans should have stopped him
<mike_nostradamaus> WE have a case where a patron jumped off the roof of a house in a swimming pool and the owners lost
<mike_nostradamaus> stupid beavers
<audiocourses> I find any form os suing which tries to take the responsibility away from the self, very odd.
<audiocourses> any..
<audiocourses> way..
<audiocourses> quesitons..
<audiocourses> ok?
<resol69> k
<audiocourses> Frequency Modulation: Describe how frequency modulation can be achieved with a traditional analogue synthesizer, or modern equivalent. How will the end result differ compared to an FM synthesizer?
<audiocourses> anyone got a clue?
<resol69> sorry no
<mike_nostradamaus> one occillator is controlled via another occillator which is the modulator
<mike_nostradamaus> may i continue
<audiocourses> yes mike
<mike_nostradamaus> Its like I had given an answer once like having a singer producing a sound a nd a seconond person choking the first person making the modulating sound ok so far
<audiocourses> sounds a bit painful
<mike_nostradamaus> it is but thats how I remember it one occilator controlled by another
<audiocourses> yes it is about modulating two things
<audiocourses> here it is:
<audiocourses> The low frequency oscillator is assigned to modulate the pitch of one of the voltage controlled oscillators.
<aido> In FM one operator modulates another with the sum or difference giving the sound-could an analogue synth control/modulate another?i
<audiocourses> yes aido you are on the money there
<audiocourses> The low frequency oscillator is assigned to modulate the pitch of one of the voltage controlled oscillators. At low frequencies of the LFO this will create vibrato but at frequencies higher than around 20Hz the note will change in character according to the ratio of the frequencies between the VCO and LFO.Unless the frequency of the LFO can track the keyboard, the character of the sound will change for each note because the ratios of the two frequencies will change.
<audiocourses> It's a tricky one to get your head around that.
<audiocourses> Are we in to what an LFO is actually doing here?
<mike_nostradamaus> ?
<audiocourses> ok define an LFO please
<aido> its modulating pitch
<mike_nostradamaus> low frequency below a certain pitch
<audiocourses> generally an LFO operates below the audio spectrum
<mike_nostradamaus> below 20hz
<audiocourses> which is why it's termed Low Frequency Ocillator LFO
<audiocourses> yes mike below 20Hz
<mike_nostradamaus> ok
<audiocourses> let's set the LFO to ocilate at 5 Hz
<mike_nostradamaus> why we cant hear it
<audiocourses> therefore it is changing 5 times a second..
<audiocourses> ok?
<aido> ok
<resol69> k
<mike_nostradamaus> k
<audiocourses> now of course we can't hear 5 hz
<audiocourses> but if we send that LFO into a another ocillator
<audiocourses> we will be able to hear the other ocillator change 5 times a second
<audiocourses> are you getting me?
<resol69> yup
<aido> yes
<audiocourses> mike?
<mike_nostradamaus> yes your saying the modulator will change
<audiocourses> Im saying we can use a LFO to modulate another component
<mike_nostradamaus> ok
<audiocourses> So that is the first part of the quesiton :The low frequency oscillator is assigned to modulate the pitch of one of the voltage controlled oscillators.
<audiocourses> i.e. the pitch will wobble 5 times a second
<audiocourses> At low frequencies of the LFO this will create vibrato but at frequencies higher than around 20Hz the note will change in character according to the ratio of the frequencies between the VCO and LFO
<audiocourses> penny droppping yet?
<audiocourses> anyone?
<audiocourses> hello?
<mike_nostradamaus> not me
<resol69> ?
<ben_m> <echo>
<ben_m> Vibrato is a slow flucuation in pitch
<ben_m> fluctuation
<audiocourses> I#m putting a doc called analoguesynth.zip
<audiocourses> on the fil server right now
<audiocourses> would be good to read it
<audiocourses> not now but later
<mike_nostradamaus> ok
<audiocourses> will help explain tracking
<aido> does the ratio keep changing
<audiocourses> yes aido
<audiocourses> it has to cause the frequency is obviously higher as we play further up the keys
<aido> so the output is random
<audiocourses> no the output will be the same in terms of tambre IF tracking takes place
<audiocourses> A synthesisers keyboard is a source of control voltage In order for an oscillator to change pitch as notes are played, the voltage output by the keyboard must control the oscillator. As notes on the keyboard are played higher more voltage will be input to the VCO, causing its frequency (pitch) to rise, and the VCF, causing it to open. Conversely, as the keyboard is played lower, the VCOs pitch will fall and the VCF will close. The keyboard controls the VCO at a rate of 1 volt per octave. Around 83 milli volts per semitone.
<aido> is that what patches in an FM synth are based on-tracked ratios?
<audiocourses> forget FM synth for a sec
<audiocourses> this is basically about analogue synthesis
<audiocourses> and emulated FM with it
<audiocourses> are you all lost?
<aido> sorry Im trying to think of difference to FM synths
<resol69> I understand your explanation of tracking
<mike_nostradamaus> now I am
<audiocourses> OK I suggest the best thing is you download that paper I just put up
<ben_m> the main thing to grasp is the concept of modulating with freq. - hence the use of the LFO to modulate the VCO
<audiocourses> and we check on it with e-mails and next workshop and possibly some more quesitons in the forum.
<audiocourses> yes ben
<audiocourses> OK guys, get that document.. it's HTML with pics.
<audiocourses> Let's tackle another for now.
<audiocourses> ok?
<resol69> k
<mike_nostradamaus> k
<aido> ok
<audiocourses> easy one: How many eighth-notes are there in one bar of music in 4/4 time?
<resol69> 8
<mike_nostradamaus> 8
<audiocourses> good
<aido> 8
<audiocourses> In a piece of music predominantly in 4/4 time it is required to shorten one bar by an eighth note. How is this done?
<mike_nostradamaus> wow! i got one
<audiocourses> well done mike
<audiocourses> and this one>
<audiocourses> don't all jump at once lol
<resol69> Delete the eighth note in the edtior and move the next bar up if necessary.
<mike_nostradamaus> would you remove  one eight note and mute
<audiocourses> yes correct, which is basically doing what with the time signature?
<ben_m> think of bar lengths & time sig - this would remove the need for cutting and pasting
<aido> changing it to 3/4
<audiocourses> kihd of aido
<audiocourses> another way of saying 4/4 is 8/8
<audiocourses> therefore?
<aido> 7/8
<audiocourses> yes
<audiocourses> well done.
<audiocourses> :)
<audiocourses> OK with that all?
<resol69> yes
<audiocourses> mike?
<mike_nostradamaus> not reeally
<mike_nostradamaus> ill explain
<audiocourses> ben wanna go for it please?
<ben_m> ok, time signature denotes 2 things
<mike_nostradamaus> what you wany to do is actully shorten the bar and not go the full bar and mute the note right
<ben_m> number of beats and length of each beat
<ben_m> yes mike - changing the time sig to 7/8 for one bar will basically make that bar last 7 'beats' with an eigth note duration - effectively  'losing' an 8th note
<mike_nostradamaus> ok thats what I was thinking
<ben_m> muting will not change the length of the bar, only when sound can be played
<ben_m> so the bar would just have an eight note of silence
<ben_m> if you went the mute route so to speak
<mike_nostradamaus> yes
<audiocourses> good stuff ben
<audiocourses> thanks
<audiocourses> easy one again
<audiocourses> ok?
<mike_nostradamaus> yes
<resol69> k
<aido> ok
<audiocourses> At 120 bpm, how long does a bar last in 4/4 time?
<resol69> 2.4 seconds
<aido> 2.4
<audiocourses> hmmmm
<mike_nostradamaus> need time...
<ben_m> ok, think of it simply
<ben_m> how long would a beat last at 60bpm
<mike_nostradamaus> 60 sec
<audiocourses> christ.. 
<resol69> 1 second
<ben_m> nancy, thats right
<mike_nostradamaus> sorry I screwed up
<ben_m> so at 120bpm what is happening to the tempo (i.e. the duration of a beat)
<resol69> Mike, there's 60 beats on one minute, so that's one beat per second.
<resol69> That was 60bpm
<resol69> 120bpm is twice as fast.
<ben_m> so how long is a beat at 120bpm
<resol69> half a second.
<ben_m> good, how many beats in a bar of 4/4
<aido> 2 secs?
<resol69> 4 beats in a bar
<ben_m> so 4 beats * duration =
<resol69> 2 seconds.
<audiocourses> yippee
<audiocourses> ;)
<audiocourses> clearer mike?
<aido> 60 divided by bpm multiplied by bar length?
<mike_nostradamaus> yes i'll practice on this one
<audiocourses> ok another one
<audiocourses> ok?
<resol69> k
<aido> ok
<audiocourses> Your sequence requires a gradual tempo change from 100 bpm to 120 bpm over a period of two bars, yet has no automatic way of doing this. What should you do?
<resol69> Assign a mod wheel to the tempo and spin the wheel while it's playing?
<aido> manually adjust tempo speed over two bars
<mike_nostradamaus> dont wiat for me
<audiocourses> yes aido
<mike_nostradamaus> wait
<audiocourses> Set a small tempo change increase every half or quarter note over this period.
<mike_nostradamaus> where would you use something like this?
<aido> is this in a  sequencer?
<ben_m> if for instance you were sequencing a song that required a tempo change for an increased sense of dynamics
<audiocourses> lots of pop songs have tempo changes Mike
<audiocourses> yes aido..
<audiocourses> you ever do much of these ben?
<ben_m> chris - sometimes i will - it is more common to go into double or half time
<ben_m> but there are still a lot of songs that change speed
<ben_m> stay with me by the faces is an example
<ben_m> james browns songs often fluctuated wildly in tempo terms throughout the piece, as many as 10-20bpm difference in some cases
<audiocourses> Oh james brown.. man I love him.
<audiocourses> ok mike?
<mike_nostradamaus> yes
<audiocourses> here we go another one: ok?
<aido> ok
<resol69> k
<mike_nostradamaus> I also like james brown
<mike_nostradamaus> k
<audiocourses> When a note from a piano is sampled in order to imitate that instrument, the sample has to be looped so that the note can be sustained for any length of time until it completely decays. What problem is there in doing this?
<resol69> It can sound like the note is being played again.
<resol69> If you loop it in the wrong place that is.
<mike_nostradamaus> you can hear the begining again
<audiocourses> want go with it ben?
<ben_m> ok
<ben_m> to loop a piano note to achieve the above you need to view the note in terms of ADSR - you remember these?
<mike_nostradamaus> yes
<resol69> attack decay sustain release
<ben_m> so we don't want to loop the whole piano note do we? we need to pick the appropriate part of the ADSR 'curve' to loop
<ben_m> so in this case what would we want to be looking to loop in this example?
<aido> sustain
<mike_nostradamaus> decay,sustain
<resol69> decay and sustain?
<ben_m> what would happen if we looped the decay?
<ben_m> where does the decay occur and what would it sound like in the case of a piano?
<aido> sound would rise and fall
<mike_nostradamaus> sound would fall
<ben_m> well, in the case of many instruments the decay is a natural reduction in volume following the initial transient (or attack in these terms)
<mike_nostradamaus> short fall
<ben_m> so if the decay was included in the loop wouldn't that mean that we would continue to hear that initial fall in volume?
<ben_m> would we want that in our sample?
<resol69> nope
<mike_nostradamaus> no
<audiocourses> ok good stuff
<audiocourses> let get into more
<audiocourses> Try this one:
<audiocourses> You are using a MIDI sequencer to record many complex tracks to be played on a MIDI system where several modules are chained together, THRU to IN. What might happen if you use Pitch Bend or Control Change messages excessively?
<resol69> There would too much info travelling on the MIDI the channel, which could cause a delay.
<audiocourses> Model answer is: The bandwidth limit of MIDI may be reached and the sequence will slow down or not play correctly.
<mike_nostradamaus> you may be gettint wrong or weak signals to other processesors coming out with weird sounds
<audiocourses> How about this one?
<audiocourses> :You are mixing MTC on the same cable as musical data. How might this affect the timing of notes?
<resol69> same answer as the last?
<audiocourses> Pretty much here is model:
<audiocourses> MTC is given priority and therefore the timing of notes may not be completely accurate.
<mike_nostradamaus> it might slow things down because info is serial or sequencial
<audiocourses> OK another
<audiocourses> : What is multisampling and what are its benefits?
<resol69> Multi sampling is taking different samples of the same note at different and pitches and volicities, this will make the note sound more natural and limit tracking
<audiocourses> yup
<aido> Its the taking of a number of samples of an instrument at different pitches to give an overall sample which is mapped on keyboard in keyzones
<resol69> :)
<audiocourses> good
<audiocourses> Name an operating system commonly used on IBM PC compatible computers?
<mike_nostradamaus> is the recording of real sounds digitaly and reusing them
<resol69> Windows
<aido> windows
<mike_nostradamaus> windows xp
<audiocourses> If a computer uses the MacOS operating system, what make and model of computer would it most probably be?
<resol69> Apple PowerMac
<aido> apple mac
<mike_nostradamaus> apple mcintosh
<audiocourses> yup both ok
<audiocourses> Name an operating system other than Windows NT and Unix that is commonly used by internet servers.
<aido> Lynux?
<resol69> Unix?
<mike_nostradamaus> novell
<audiocourses> wow listen ta ya..
<audiocourses> good
<audiocourses> tough one here:
<audiocourses> Macintosh computers running system version 9.0.4 and lower are not very good at playing audio while word processing, whereas IBM PC compatible computers running Microsoft operating systems are. What is lacking from the Macintosh's operating system?
<ben_m> brb
<audiocourses> ok
<audiocourses> anyone?
<resol69> thinking...
<audiocourses> hehe
<mike_nostradamaus> nancy you got a mac
<audiocourses> macs aree not good at thinking?
<resol69> apparently not. :)
<audiocourses> answer is: Pre-emptive multitasking. (Multitasking will do).
<mike_nostradamaus> youre kidding
<audiocourses> not so sure about later versions
<audiocourses> not kidding
<audiocourses> moving on:
<audiocourses> What is 'groove quantization'?
<ben_m> back
<mike_nostradamaus> bringing note to closest timing in a bar
<audiocourses> key is in "GROOVE"
<aido> This is where a style or type of drum pattern is used to create a template to which youe drum pattern is copied
<audiocourses> yup
<audiocourses> wel done aido
<audiocourses> model answer here:
<audiocourses> Normal quantization places the start of each note precisely onto a grid of quarter, eighth, sixteenth notes or other regular pattern. Groove quantization uses a grid which has been created manually or by analysis of the performance of a drummer or other musician.
<audiocourses> ok?
<audiocourses> Mike?
<mike_nostradamaus> what
<audiocourses> You are recording a melody into a sequencer. The melody contains a complex series of notes and pitch bend movements and you can’t get both the notes and pitch bend moves right simultaneously. What should you do?
<aido> enter them in step time
<audiocourses> aido yes that's one way
<audiocourses> another way/
<resol69> Use the pitch bend wheel to change the pitch.
<audiocourses> ?
<audiocourses> yes nancy
<audiocourses> or slow it all down
<audiocourses> model answer:
<audiocourses> Record the notes and pitch bend separately on different tracks set to the same MIDI channel.
<resol69> Hmm.looks like I got SOME of the answers on the mock exam correct. :)
<audiocourses> nancy yes you did!
<audiocourses> ever heard daft punk?
<aido> yes
<mike_nostradamaus> no
<resol69> nope
<audiocourses> they did the above in splendid style!
<ben_m> ahhhh, daft punk
<audiocourses> ben introduced me to htem really.
<audiocourses> Thanks ben..
<ben_m> thanks, but donnys paid it back!
<audiocourses> hey ben wanna upload one of those exmaples of pitch bend madness into file server as mp3 for nancy?
<audiocourses> :)
<ben_m> yeah, sure!
<audiocourses> cool
<resol69> cool
<audiocourses> don't tell anyone we give out mp3 please. lol
<audiocourses> educational use only
<ben_m> this mp3 will destruct in 24hrs
<audiocourses> they go nuts with the pitch bend..
<audiocourses> lol
<mike_nostradamaus> did anyone listen to danny's mp3 site quite good
<audiocourses> next question:
<audiocourses> You have sampled a four bar drum loop and you trigger it from the sequencer on the first beat of bar 1. You also trigger it on the first beat of bar 5. What will happen if you play the sequence from bar 3?
<audiocourses> anyone?
<aido> your sample will only last two bar?
<resol69> You would miss the first trigger and only hear the second one?
<audiocourses> wont hear it until?
<audiocourses> yes nancy
<audiocourses> model answer:
<resol69> It loops around to bar 1?
<audiocourses> Nothing will be heard until bar 5 OR the sample will play from the beginning and will overlap with the same sample triggered at bar 5 from bar 5 to the start of bar 7. Either answer will do.
until bar 5 OR the sample will play from the beginning and will overlap with the same sample triggered at bar 5 from bar 5 to the start of bar 7. Either answer will do.                                                                                                                                           
<audiocourses> ooops  too much there lol
<audiocourses> shall we kepe going?
<aido> ok
<mike_nostradamaus> yes
<resol69> k
<audiocourses> What technical problem would you expect to encounter when using an old analogue synthesizer for a lengthy live performance, even if the synthesizer is working to its original specifications?
<mike_nostradamaus> out of tune
<aido> tuning problems
<resol69> When it heats up, it will go out of tune.
<audiocourses> yes mike!
<audiocourses> yes nancy it is a result of heat
<mike_nostradamaus> wow!!!!
<audiocourses> The tuning of the VCO will drift.
<audiocourses> nest one:
<audiocourses> next one :
<audiocourses> Arrange the following devices in the order they would normally be used for subtractive analogue synthesis (1 mark):
<audiocourses>       VCO
<audiocourses>    VCA
<audiocourses>    VCF 
<resol69> VCO, VCF, VCA
<aido> vco-vcf-vca
<mike_nostradamaus> vcovcfvca
<audiocourses> ya ya
<audiocourses> :)
<audiocourses> next:
<audiocourses> What would be the effect of modulating the VCF of an analogue synthesizer with the LFO?
<resol69> You would get a vibrato effect.
<aido> vibrato
<audiocourses> :)) nancy gold star..
<mike_nostradamaus> vibrato
<resol69> :)
<audiocourses> answer: The high frequency content of the signal will increase and decrease repeatedly. It will create a wah-wah effect
<audiocourses> yes mike
<audiocourses> next
<audiocourses> On the ADSR of an analogue synthesizer, how would you make a note decay to complete silence, no matter how long the key is pressed?
<resol69> Change the Release part of the envelope.
<audiocourses> think
<mike_nostradamaus> decrease foot volume
<audiocourses> ?
<audiocourses> answer: Set the sustain level to zero
<aido> adjust sustain
<audiocourses> yes aido!
<audiocourses> Star for aido
<mike_nostradamaus> do people still use this stuff
<audiocourses> mike yes.
<aido> more than ever
<audiocourses> next:
<audiocourses> When using a MIDI sequencer, what should you do to…
<audiocourses>    a) Correct the timing of a string sound with a slow attack that has been quantized to quarter notes?
<resol69> move it up a few beats
<audiocourses> nancy..  goldness
<audiocourses> answer: Make the whole track play earlier in time
<aido> is that speed up
<audiocourses> no
<audiocourses> aido
<audiocourses> shift the entire part in time
<aido> gotcha
<audiocourses> next:
<audiocourses> How often is an MTC message sent?
<resol69> 24 times per frame.
<audiocourses> Every quarter of a frame
<audiocourses> you got frame rate confused there i think
<resol69> yea..
<audiocourses> quarter frame messages
<audiocourses> frames rates can change
<resol69> a-ha!
<audiocourses> 24, 25
<audiocourses> this one is tougher:
<audiocourses> Give four terms used in FM (Frequency Modulation) synthesis and not in analogue synthesis.
<resol69> FMA input, carrier, operator, modulator?
<aido> operator,midi,carrier,
<audiocourses> nancy ya getting good at this
<audiocourses> aidio 2
<audiocourses> dont forget Algorithm
<audiocourses> this next one is a cool technique..
<audiocourses> How might you achieve a chorus effect using a sampler that does not have an effects section?
<aido> sample it twice-playig back one sample slightly behind other
<resol69> Duplicate the sample in a second track and start it later.
<audiocourses> aido pretty close man
<audiocourses> not timing this
<audiocourses> chorus is not timing
<audiocourses> pitch
<audiocourses> Each sample of a program should be assigned to two keygroups (or zones) and the keygroups slightly detuned.
<aido> tunin
<aido> sorry tuning
<audiocourses> ya aido
<audiocourses> it's tuning
<audiocourses> you can do it in a virtual sample..  play the same things twice but one is de-tuned
<audiocourses> good effect!
<ben_m> have put 2 mp3 examples on the server by the way dp1 & dp2
<audiocourses> nice one!
<audiocourses> ok guys lets summarise
<audiocourses> this week will be MUST be serious serious swatting up
<aido> agreed
<audiocourses> I'm gonna post heaps of questions and models answers up.
<audiocourses> also i am around most of this week online
<audiocourses> if you need some extra let me know
<aido> is there any pattern or repeated questions that crop up again and again?
<audiocourses> yes aido LFO
<audiocourses> MIDI
<ben_m> yeah - name:
<ben_m> ;)
<audiocourses> I'll indicate next to the questions which are common ok?
<resol69> And probably that recording from a turntable question we always get.
<audiocourses> lol
<aido> thanks ben
<ben_m> hehe
<audiocourses> so if you need I can easily open this chat up and we can work through some stuff..
<audiocourses> I am here.. ok?
<resol69> k
<aido> ok
<audiocourses> I also suggest you do the mail thing again..
<ben_m> i'll be around quite a bit too this week
<audiocourses> this week concentrate on 1. synthesis and 2. midi manipulations, and  3. samplers
<aido> ok
<resol69> yup
<audiocourses> is next sunday ok for all?
<audiocourses> 18:00 this time?
<resol69> yup
<mike_nostradamaus> y
<aido> yeah
<audiocourses> aim to study one topic a day fom each module this week please.
<resol69> Mike and Aidan,  if you have anything to add to the study guides, send it to me please
<mike_nostradamaus> ok
<aido> Ok Nancy
* Humpa has joined #audiocourses
<resol69> cool
<audiocourses> hi humpa..
<Humpa> hi
<audiocourses> guys this is a collegue
<mike_nostradamaus> hi
<aido> hi
<resol69> hey there
<audiocourses> be with ya one sec humpa
<Humpa> hello all
<ben_m> hi
<audiocourses> Ben we have an issue that i wondered if you could answer for humpa.
<mike_nostradamaus> gotta go its been 3 hrs for me bonus
<audiocourses> I thought the other guys would enjoy it also. (but go if ya need guys)
<ben_m> i'll give it a blast
<audiocourses> ok go humpa
<audiocourses> ok mike cheers.
<aido> see ya mike
<mike_nostradamaus> bye
* mike_nostradamaus has left #audiocourses

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