View credits, reviews, tracks and shop for the CD release of Audible Design on Discogs. Audible Design: A Plain and Easy Introduction to Sound Composition [Trevor Wishart] on *FREE* shipping on qualifying offers. to practical sound composition / by Trevor Wishart Wishart, Trevor Audible design; [Index to] Sound examples; Appendix 2: a diagrammatic guide to sound .

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More interesting though apparently less promising we may replace N in every M wavesets by silence waveset omission: In a crude way, filters may be used to eliminate unwanted noise or hums in recorded ahdible, especially as digital filters can be very precisely tuned. Values of N at the threshold of grain perceptibility are especially interesting.

The accompanying CD of music examples, illustrates each point in the text. In a more signal sensitive sense a filter or a frequency-domain channel selector can be used to separate some widhart feature of a sound, e. Again, this may be true with simple sound input but complex sounds are just changed in spectral “feel” as a rapidly changing sine-wave is no less perceptually chaotic than a rapidly changing arbitrary wave-shape.


A good example of the complexity of noise itself is “noisy noise”, the type of crackling signal one gets from very poor radio reception tuned to no particular station, from masses of broad-band click-like sounds either in regular layers – cicadas – or irregular – masses of breaking twigs or pebbles falling onto tiles – or semi-regular – the gritty vocal sounds produced by water between the tongue and palate in e.

The book Audible Auidbleprovides detailed description of the craft of sound transformation using new software instruments, with non-mathematical explanations and recorded music examples of all processes. Compositional techniques are discussed in detail, with applications to radically different kinds of sound material and each is illustrated by appropriate sound examples. For this reason I refer to these processes as constructive distortion. Octave enhancement is the most obvious approach but any interval of transposition e.

With large numbers of windows in a shuffled group we produce an audible rearrangements of signal segments, akin to brassage, but with only wiwhart few windows we create another process of sound blurring, particularly apparent in rapid sequences.


Audible Design : A Plain and Easy Introduction to Sound Composition

The subtle differences between unvoiced staccato “t”, “d”, “p”, “k”, “s”, “sh”, “f”, the variety amongst cymbals and unpitched gongs give the lie to this. Again, we have a compositional process which makes perceptible aspects of the signal which were not perceptible. We now have a listings page for concerts, festivals, conferences and workshops of electroacoustic music in the UK.

We can also freeze both amplitude and frequency data but, with a complex signal, this tends to sound like a sudden splice between a moving signal and a synthetic drone. As this process destroys the original form of the wave I will refer to it as destructive distortion.

Audible Design : Trevor Wishart :

But in this case, the aural result is entirely different. This process is described in Chapter 2, and in the under formant preserving spectral manipulation in Appendix p Book Details for Trevor Wishart: Many of the sound phenomena we have discussed in this section are complex concatenations of simpler units.

Scroll auxible for Ch. This allows us to extract, from a pitched sound, either the spectral contour only, or the true partials, and to then use this data to filter a noise source. Their advantage in the context of constructive distortion is that very noisy sounds, having no pitch, have no true wavecycles – but we can still segment them into wavesets Appendix p The computer can apply this process to any sound-source, even whilst it is in motion.

We are fans of Bernard Parmegiani and so we now have all of his CDs in stock, including the xudible released l’Oeuvre Musicale. In particular, we audiible separate the spectrum audibls parts using band pass filters or spectral splitting and apply processes to the N separated parts e. Inharmonicity does not therefore necessarily mean multipitchedness.

Proceeding further, the spectrum can be made to vary, either slowly or quickly, between the harmonic and the inharmonic creating a dynamic interpolation between a harmonic and an inharmonic state or between any state and something more inharmonic so that a sound changes its spectral character as it unfolds.

Conversely, all sounds can be amassed to create trevkr sound with a noise-spectrum if superimposed randomly in a sufficiently frequency-dense and time-dense way.

Finally, we can introduce a sense of multiple-sourcedness!

A fruitful approach to this territory might be through spectral focusing, described in Chapter 2 and Appendix p We might also change the spectrum by applying a power factor to the waveform shape itself waveset distortion: Its already up and running – click here!


Tfevor of the spectrum does not need to be speech-related and, in complex signals, is often more significant than spectral change. However, a systematic approach to sound itself had to wait for the invention of sound recording and the accurate computer analysis of sounds.

Most musicians with a traditional background almost equate “timbre” with instrument type some instruments producing a variety of “timbres” e.

Audible Design, by Trevor Wishart | Sound Design Resource

Once, however, we slow down the rate of change the spectrum becomes stable or stable-in-motion for long enough for us to hear out the originally instantaneous window values. Orpheus The Pantomime Ltd. Inverting the half-wave-cycles waveset inversion: In a complexly evolving signal especially a noisy one each waveset will be different, often radically different, to the previous one, but we will not perceptually register the content audiboe that waveset in its own right see the discussion of time-frames in Chapter rtevor.

Again, this can be effected in a time-varying manner so that the inharmonicity emerges gradually from within the stretching sound. We hope it will soon be the place to check up on whats happening and where. Virtually all processes described in Ddesign Design are available on the Sound Loom.

Again, this process introduces a slightly rasping “edge” to the sound quality of the source sound which increases as more “silence” is introduced.

Audible Design by Trevor Wishart.

This CD contains 3 studies which were the seeds from which many of trevorr other works grew. All the tracks are encoded as top quality MP3s at k. Email us rtevor links digital-music-archives. All you have to do is go to our tracks page, add the ones you want to your shopping cart, and you will be presented with a webpage with links to the tracks as soon as your credit card payment has been authorised.