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en:tutorium_spektral [2021/09/30 08:27]
andres_romero angelegt 		en:tutorium_spektral [2023/05/23 14:06] (aktuell)
martin
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 [[https://analyse.hfm-weimar.de/lib/exe/fetch.php?media=aphex_twin_bucephalus_bouncing_ball_selection.mp3|Audio01]]\ [[https://analyse.hfm-weimar.de/lib/exe/fetch.php?media=aphex_twin_bucephalus_bouncing_ball_selection.mp3|Audio01]]\
-This is an excerpt from the track "Bucephalus Bouncing Ball" by [[https://https://en.wikipedia.org/wiki/Aphex_Twin|Aphex Twin]], a pseudonym of Irish-British electronica artist Richard David James. +This is an excerpt from the track "Bucephalus Bouncing Ball" by [[https://en.wikipedia.org/wiki/Aphex_Twin|Aphex Twin]], a pseudonym of Irish-British electronica artist Richard David James. 
  
 {{ :audio01_screenshot01.png?400 |[Sreenshot01]}} {{ :audio01_screenshot01.png?400 |[Sreenshot01]}}
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 The button at the bottom right allows you to change the **playback speed** (//Playback speed//); by clicking on the button, you can precisely set the desired speed in a window (as a percentage of the original speed).   The button at the bottom right allows you to change the **playback speed** (//Playback speed//); by clicking on the button, you can precisely set the desired speed in a window (as a percentage of the original speed).  
  
-After loading, three **//Layers//** (visualization layers) are visible, cf. the tabs at the top right: \\ +After loading, three **//Layers//** (visualization layers) are visible, cf. the tabs at the top right:\\ 
 + 
   - //scroll layer//: Please click on the first of the index cards (on the left) and select //scroll// so that the visible section scrolls when a file is played.   - //scroll layer//: Please click on the first of the index cards (on the left) and select //scroll// so that the visible section scrolls when a file is played.
   - The //time instants layer// contains the time instants of the audio file.    - The //time instants layer// contains the time instants of the audio file. 
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 The topmost //Layer// or the clicked //Pane// is active. Each //Layer/Pane// appears as a tab in the upper right corner and has a specific menu there. If you move the mouse over the active layer, information may become visible.  The topmost //Layer// or the clicked //Pane// is active. Each //Layer/Pane// appears as a tab in the upper right corner and has a specific menu there. If you move the mouse over the active layer, information may become visible. 
-The light (//Show//, bottom right) can also be used to turn the display of the topmost //layer// on and off.\ +The light (//Show//, bottom right) can also be used to turn the display of the topmost //layer// on and off.\\ 
-Some of the //layer/pane// have additional information that is displayed in a table when the //E// key is pressed. This data can be exported as a csv file. (//menu: File, Export Annotation Layer//). The //Layer/Pane// itself can be exported as an image file (//menu: File, Export Image File//). Delete the current //Layer/Pane// by: //Ctrl-D/ //Ctrl-Shift-D//.+Some of the //layer/pane// have additional information that is displayed in a table when the //E// key is pressed. This data can be exported as a csv file. (//menu: File, Export Annotation Layer//). The //Layer/Pane// itself can be exported as an image file (//menu: File, Export Image File//). Delete the current //Layer/Pane// by: //Ctrl-D// / //Ctrl-Shift-D//. 
 + 
 +   Now play the audio file. What sound effects do you notice?  
  
-   Now play the audio file. What sound effects do you notice? 
  
 As a first approximation of spectral representation, let's first look at the **spectrum**, which is a snapshot of the spectral distribution of the recording: You create a spectrum-//Layer// of the audio file with the key command //Shift+U// or with the menu command //Layer - Add Spectrum - Audio01: All Channels Mixed//.\\ As a first approximation of spectral representation, let's first look at the **spectrum**, which is a snapshot of the spectral distribution of the recording: You create a spectrum-//Layer// of the audio file with the key command //Shift+U// or with the menu command //Layer - Add Spectrum - Audio01: All Channels Mixed//.\\
 +
 {{ :audio01_screenshot04.png?300 |}} {{ :audio01_screenshot04.png?300 |}}
  
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 Conclusion: The larger the analysis window is selected, the more accurate the frequency resolution in the spectrum - also in the low frequency range. However, larger windows naturally reduce the resolution in the temporal range. This must be taken into account when choosing the right window size for spectral representation of music recordings.  Conclusion: The larger the analysis window is selected, the more accurate the frequency resolution in the spectrum - also in the low frequency range. However, larger windows naturally reduce the resolution in the temporal range. This must be taken into account when choosing the right window size for spectral representation of music recordings. 
 +
 ==== Spectral Representations====  ==== Spectral Representations==== 
 You can create a spectrogram//Layer// of the audio file with the key command //Shift+G// or with the menu command //Layer - Add Spectrogram - Audio01: All Channels Mixed//. Alternatively, you can create a spectrogram below the waveform in a new pane (menu command //Pane- Add Spectrogram - Audio01: All Channels Mixed//).  You can create a spectrogram//Layer// of the audio file with the key command //Shift+G// or with the menu command //Layer - Add Spectrogram - Audio01: All Channels Mixed//. Alternatively, you can create a spectrogram below the waveform in a new pane (menu command //Pane- Add Spectrogram - Audio01: All Channels Mixed//). 
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    Please also use the zoom option (turn the horizontal wheel slightly to the right).     Please also use the zoom option (turn the horizontal wheel slightly to the right). 
    Play the audio file again. How do auditory and visual impressions fit together?    Play the audio file again. How do auditory and visual impressions fit together?
 +
  
 Three useful hints for the //Sonic Visualiser//: Three useful hints for the //Sonic Visualiser//:
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     * You can export your spectrogram as **image file** (//png// or //svg//): //File - Export Image File / Export SVG file//. You can choose between the currently visible section and the spectrogram of the complete audio file.      * You can export your spectrogram as **image file** (//png// or //svg//): //File - Export Image File / Export SVG file//. You can choose between the currently visible section and the spectrogram of the complete audio file. 
     * When closing the Sonic Visualizer you will also be asked if you want to save the **Session**. A session contains all //Layers// and //Panes// in their association with the audio and can be recalled when the software is restarted.      * When closing the Sonic Visualizer you will also be asked if you want to save the **Session**. A session contains all //Layers// and //Panes// in their association with the audio and can be recalled when the software is restarted. 
 +
 +
  
  
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 In the spectrogram, all noisy and percussive sounds, e.g. of the drums, are displayed as vertical bars.  In the spectrogram, all noisy and percussive sounds, e.g. of the drums, are displayed as vertical bars. 
  
-   How can the beginning of the track be characterized in rhythmic terms?   Was passiert ab 0:28? +   How can the beginning of the track be characterized in rhythmic terms?    
 +   What happens from 0:28?
  
 === Pitch === === Pitch ===
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 ==== Deepening ==== ==== Deepening ====
 An interesting approach to analyzing the sonic aspects of pop music productions using spectrograms is formulated by Simon Zagorski-Thomas. His thesis is that in many pop recordings the peculiarities of a performance by musicians and singers are exaggerated or artificially designed with various studio-technical means (e.g. equalizer, reverb, panorama, delay) - Zagorski-Thomas speaks of //Sonic Cartoons//. On the other hand, especially in electronic music, many unusual and 'unnatural' or synthetically produced or processed sounds are used in such a way that they have similarities to the natural sound environment or even conventional musical instruments (e.g. the sound arrangement of a drum set). An interesting approach to analyzing the sonic aspects of pop music productions using spectrograms is formulated by Simon Zagorski-Thomas. His thesis is that in many pop recordings the peculiarities of a performance by musicians and singers are exaggerated or artificially designed with various studio-technical means (e.g. equalizer, reverb, panorama, delay) - Zagorski-Thomas speaks of //Sonic Cartoons//. On the other hand, especially in electronic music, many unusual and 'unnatural' or synthetically produced or processed sounds are used in such a way that they have similarities to the natural sound environment or even conventional musical instruments (e.g. the sound arrangement of a drum set).
 +
 Simon Zagorski-Thomas: „The Sprectromorphology of Recorded Popular Music. The Shaping of Sonic Cartoons through Record Production“, in it: //The Relentless Pursuit of Tone. Timbre in Popular Music//, by Robert Fink, Melinda Latour and Zachary Wallmark, New York 2018, pp. 345-366. Simon Zagorski-Thomas: „The Sprectromorphology of Recorded Popular Music. The Shaping of Sonic Cartoons through Record Production“, in it: //The Relentless Pursuit of Tone. Timbre in Popular Music//, by Robert Fink, Melinda Latour and Zachary Wallmark, New York 2018, pp. 345-366.
  
 +{{ :en:tutorial_audio_basics_spectral_sample_solution.pdf |}}
  • en/tutorium_spektral.1632990425.txt.gz
  • Zuletzt geändert: 2021/09/30 08:27
  • von andres_romero