Lloyd RB Music Technology

All ‘sound’ is just our brain’s interpretation of vibrations made by external stimuli. This is explained by acoustic theory. Vibrations created by a source such as knocking a door come out as sound waves. The higher the frequency of these waves, the higher in pitch this sound will be. For example, D and C in the same octave on a piano differ in that a wave that sounds like D has a higher frequency than C. A wave’s frequency, wavelength and amplitude are all linked; the higher it’s frequency, the shorter its wavelength as the wave has less distance to travel between each peak and trough. Meanwhile a wave’s amplitude translates in the ear to loudness of the sound. Acoustic theory is relevant in all sound sources, not just synthesised ones. Many instruments, such as guitar and piano, employ strings; here, the pitch as a note is determined by how rapidly the string vibrates (as this produces a higher frequency of wave). Thicker strings vibrate more slowly which lowers pitch, whi...

https://soundcloud.com/lloy2-908796191/yokloh-forested I created this piece of music to demonstrate sonic and musical components. I imagine it playing in a game, maybe in a woods section. This is because the instrumentation and style is often associated in games with this kind of setting, especially instruments like the piccolo which leads the piece. The piece is polyphonic , meaning multiple sounds are being played at once. These instruments are double bass, cellos, violins, (separately) string ensemble, tambourine, maracas, piccolo, bassoons, glockenspiel, and alto flutes. The use of polyphony gives a sense of life and character to the piece, as if multiple personalities reside within it, embodied by the different textures matching and contrasting; if it was monophonic the piece would sound lonelier. Furthermore, the more instruments are present in a piece, the more of a distinct identity the piece takes on as the different instruments interact in their acoustic environm...

Life on Mars? by David Bowie is a rock song on his album Hunky Dory . It's best described in terms of genre  (style) as a "glam/art rock song", featuring exaggerated flamboyancy and unconventional ideas from its structure to its tonality. https://www.youtube.com/watch?v=v--IqqusnNQ Unit 14 Task 1 Rhythm Rhythm is a strongly present sequence of repeating beats. The rhythm of the song features a constant simple 4/4 time signature (as opposed to compound ). This time signature is easy to follow (at least for a Western audience), which allows the listener to more easily follow Bowie’s complex surrealist lyrics. Life on Mars? is at 60BPM tempo , which is quite slow compared to most modern music, but because the song is complex it achieves an impressive amount in each bar. For example, Wakeman on the piano voices chords in more complex ways than you might expect with fragments of melodies and moving up and down octaves, maintaining rhythm. There is a clear...

For Task 3 I have recorded an interview podcast: https://soundcloud.com/lloy2-908796191/unit-14-task-3https://soundcloud.com/lloy2-908796191/interview-1 It discusses the following three recordings: > Dreams Demo: https://www.youtube.com/watch?v=cpICbfRbDGQ > Skyview Temple : https://www.youtube.com/watch?v=2fV17aNKHXw > Pokémon Symphonic Evolutions - Part III https://www.youtube.com/watch?v=qx2LEjSzEk0 The questions and answers were recorded separately in different contexts, so they are slightly mismatched. For example, the answers were quieter than the questions, so I had to use an expander.

https://www.youtube.com/watch?v=fHiGbolFFGw An alternative progressive rock song in style , Paranoid Android’ s acoustic environment transforms with the structure of the song. The song was recorded in a 15th-century mansion-- an indoor acoustic environment , one which you'd imagine would lend a reverb-filled and spacious sound to the song, but this is not always the case. Verses are actually very crisp, with little to no reverb present (save for the subtle clacking sound you have to listen for), but this really changes at the choruses (“What’s that?”) where we are dunked into a very spacious sound field . Cymbals wash over the music alongside a reverb-soaked synth melody spanning multiple octaves.  The juxtaposition of a bleakly quiet soundscape with a harsh bombardment of noise instils an eponymous sense of paranoia in the listener. Focus in the mix is obviously vocals most of the time--with them at the centre of the stereo field and in the higher end of amplitud...

I'm going to do Hey Jude by the Beatles as it's one of my favourite songs. It might be difficult as it's a long song but I feel capable of doing it. Original:   Rendition: https://soundcloud.com/lloy2-908796191/hey-jude-rendition-1 Planning I found the personnel online and hope to match it with the following: Piano - Me (melody and accompaniment) Guitar - Classmate (Rhema/Alex/Abbey/Simeon) Drums - Classmate (Cameron/Dinesh) Tambourine - Me Violin - Santini Dhanish - Bass Guitar All those listed were able to do it. I got the  tempo  for Hey Jude, which was 76bpm. The tempo track on the Logic file has been set to this. Getting the tempo right first is paramount to making everything else sound right as it gives a beat for things to follow. I also looked up good ways of recording piano. Due to limitations I'm just going to use a condenser mic which is simple but effective for piano. Recording With this setup I recorded the pia...