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In 1947, Dennis Gabor introduced the idea that sounds can be represented by a series of elementary "grains," each grain being a short pulse containing both temporal and frequency information. Greek composer Iannis
Xenakis is known as the inventor of the granular synthesis technique, having expanded
201:: "All sound, even continuous musical variation, is conceived as an assemblage of a large number of elementary sounds adequately disposed in time. In the attack, body, and decline of a complex sound, thousands of pure sounds appear in a more or less short interval of time
66:
148:
64:
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116:, that is manipulatable in a manner unlike that for natural sound sampling or other synthesis techniques. At high speeds, the result is heard as a note or notes of a novel
242:
implemented real-time versions of this synthesis technique using the DMX-1000 Signal
Processing Computer. "Granular synthesis was implemented in different ways by Truax."
222:
149:
155:
An example of granular synthesis. Note how the tiny snippets of sound (the grains) are initially distinct, but then blend together, generating a completely new
338:
417:
346:
1014:
444:
Tasty Chips GR-1 - polyphonic granular synthesizer capable of 128 grains per voice, which can add up to a total of 1000+ grains simultaneously
197:
The composer Iannis
Xenakis (1960) was the first to explicate a compositional theory for grains of sound. He began by adopting the following
318:
184:
and time stretching. More experimentally, stereo or multichannel scattering, random reordering, disintegration and morphing are possible.
322:
57:
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1140:
1007:
796:
Bencina, R. (2006) "Implementing Real-Time
Granular Synthesis", in Greenbaum & Barzel (eds.), Audio Anecdotes III,
176:
Both have been used for musical purposes: as sound effects, raw material for further processing by other synthesis or
903:
846:
827:
801:
611:
536:
511:
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Make Noise
Morphagene – a eurorack synthesizer module built around microsound, or granular synthesis, in addition to
224:." Xenakis created granular sounds using analog tone generators and tape splicing. These appear in the composition
670:
1212:
1035:
1000:
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effects, or as complete musical works in their own right. Conventional effects that can be achieved include
1112:
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124:, envelope, duration, spatial position, and density of the grains, many different sounds can be produced.
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synthesizer module which has four factory set modes, the first and default being a granular processor
177:
776:
777:"The development of GiST, a Granular. Synthesis Toolkit Based on an Extension of the FOF Generator"
1102:
349:, and others. In the frequency domain they may be named kernel, logon, and frame, among others.
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101:. Multiple grains may be layered on top of each other, and may play at different speeds,
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Truax, Barry (1988). "Real-Time
Granular Synthesis with a Digital Signal Processor".
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Searching for a global synthesis technique through a quantum conception of sound
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was the first to implement granular synthesis on a computer in 1974.
93:. However, the samples are split into small pieces of around 1 to 100
877:"Doctoral Thesis: Les techniques granulaires dans la synthèse sonore"
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402:(Pd) – graphical programming language for real-time audio and video
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Sound synthesis method involving samples shorter than 0.1 seconds
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These sounds include transient audio phenomena and are known in
72:
A piece of music composed with fast and slow granular synthesis.
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time scale. Specifically, this is shorter than one tenth of a
156:
117:
411:
386:– comprehensive music software including granular synthesis (
251:
396:– graphical authoring software for real-time audio and video
820:
Computer Sound Design: Synthesis
Techniques and Programming
487:
Formalized Music: Thought and
Mathematics in Composition
207:
430:
414:- strongly-timed computer music programming language
408:– programming language for real time audio synthesis
489:. Bloomington and London: Indiana University Press.
238:Twelve years later, in 1986, the Canadian composer
108:At low speeds of playback, the result is a kind of
216:
105:, volume, and frequency, among other parameters.
1204:
462:audio montage on the time scale of microsounds
1008:
313:by various names including sound particles,
441:-inspired sound on sound audio manipulation
97:in duration. These small pieces are called
1015:
1001:
945:Iannis Xenakis. Analogique A-B (1959), on
671:"Understanding Clouds and Its Derivatives"
497:
495:
1022:
967:Truax, Barry (1987). Digital Soundscapes
506:. Cambridge: The MIT Press. p. 169.
370:" or the "time-varying distribution of...
874:
356:was an important pioneer in microsound.
933:New Computer Music (1987) Wergo 2010–50
817:
587:
585:
583:
531:. Cambridge, Massachusetts: MIT Press.
492:
37:method that operates on the microsound
14:
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792:Further articles on Granular Synthesis
321:, grain, glisson, grainlet, trainlet,
996:
836:
551:
526:
501:
228:for string orchestra and tape (1959).
193:upon Gabor's theoretical foundation.
141:Fast granular synthesis demonstration
89:It is based on the same principle as
580:
360:is musical montage with microsound.
58:Excerpt from Agon – Horacio Vaggione
424:
377:
278:, which includes part of the audio
24:
366:is the level of "sonic" or aural "
208:
129:
46:
25:
1224:
980:
266:time scale, and longer than the
167:Problems playing this file? See
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80:Problems playing this file? See
62:
875:Iturbide, Manuel Rocha (1999).
759:
737:
713:
888:
688:
663:
649:
617:
545:
520:
479:
468:, analogous process for images
390:of granular synthesis opcodes)
13:
1:
894:Curtis Roads (2004). CD with
721:"Make Noise Co. | Morphagene"
472:
245:
860:. Cambridge: The MIT Press.
626:, "Articulating Microtime",
420:- granular sound synthesizer
290:kHz) as well as part of the
7:
883:. University of Paris VIII.
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504:The Computer Music Tutorial
448:
10:
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602:vii and 20-28. Cambridge:
187:
1172:
1149:
1111:
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1031:
455:Digital signal processing
294:frequency range (below 20
178:digital signal processing
841:. Cambridge: MIT Press.
811:
788:by Manuel Rocha Iturbide
217:{\displaystyle \Delta t}
906:. Contains excerpts of
822:. Oxford: Focal Press.
818:Miranda, E. R. (2002).
804:, A.K. Peters, Natick.
485:Xenakis, Iannis (1971)
112:, often described as a
858:The SuperCollider Book
856:Wilson, Scott (2011).
837:Roads, Curtis (2001).
725:www.makenoisemusic.com
628:Computer Music Journal
554:Computer Music Journal
527:Roads, Curtis (2001).
502:Roads, Curtis (1996).
230:
218:
134:
51:
1213:Sound synthesis types
1141:Karplus–Strong string
781:Manuel Rocha Iturbide
779:by Gerhard Eckel and
219:
195:
133:
50:
1192:Software synthesizer
1036:Frequency modulation
771:"Granular Synthesis"
205:
182:amplitude modulation
1174:Digital synthesizer
970:Digital Soundscapes
341:, pulsar, impulse,
339:time-frequency atom
274:and longer than 10
1151:Analog synthesizer
1113:Physical modelling
987:Granular Synthesis
940:(list of releases)
745:"Tasty Chips GR-1"
250:This includes all
214:
135:
52:
31:Granular synthesis
1200:
1199:
1187:Scanned synthesis
1126:Digital waveguide
1041:Linear arithmetic
989:Resource Web Site
958:Music For Strings
948:Alpha & Omega
867:978-0-262-23269-2
675:After Later Audio
466:Texture synthesis
315:quantum acoustics
311:signal processing
150:
120:. By varying the
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16:(Redirected from
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1121:Banded waveguide
1046:Phase distortion
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677:. 21 August 2021
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439:Musique Concrète
425:Related hardware
418:EmissionControl2
378:Related software
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1182:Analog modeling
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1024:Sound synthesis
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35:sound synthesis
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881:ArteSonoro.net
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773:by Eric Kuehnl
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749:Sound on Sound
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1103:Concatenative
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904:0-262-18215-7
901:
898:. MIT Press.
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859:
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848:0-262-18215-7
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829:0-240-51693-1
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802:1-56881-215-9
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702:. 6 July 2019
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612:0-262-18215-7
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592:Roads, Curtis
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538:0-262-18158-4
534:
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513:0-262-18158-4
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406:SuperCollider
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261:
260:musical notes
258:shorter than
257:
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1076:Sample-based
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857:
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819:
760:Bibliography
748:
739:
728:. Retrieved
724:
715:
704:. Retrieved
699:
696:"Morphagene"
690:
679:. Retrieved
674:
665:
651:
627:
619:
595:
560:(2): 14–26.
557:
553:
547:
528:
522:
503:
486:
481:
460:Micromontage
363:
362:
358:Micromontage
354:Dennis Gabor
351:
345:, tone pip,
334:
304:
276:milliseconds
264:sound object
249:
237:
233:Curtis Roads
231:
225:
196:
191:
175:
166:
107:
98:
88:
79:
30:
29:
1056:Subtractive
917:Microsounds
896:Microsounds
889:Discography
700:Signal Flux
638:2. (Summer,
240:Barry Truax
1066:Distortion
839:Microsound
806:online pdf
730:2022-11-09
706:2022-11-09
681:2022-11-09
657:"Software"
642:1996), pp.
596:Microsound
529:Microsound
473:References
352:Physicist
319:sonal atom
292:infrasonic
256:time scale
246:Microsound
169:media help
110:soundscape
82:media help
39:time scale
18:Microsound
1088:Wavetable
604:MIT Press
400:Pure Data
374:energy".
364:Microtime
343:toneburst
307:acoustics
282:range (20
280:frequency
209:Δ
1207:Category
1093:Granular
1061:Additive
930:(1980),
914:(1981).
765:Articles
594:(2001).
449:See also
432:eurorack
388:overview
372:spectral
331:chirplet
323:microarc
286:Hz to 20
122:waveform
91:sampling
1164:Modular
1136:Formant
1080:Sampler
1051:Scanned
975:Discogs
963:Discogs
953:Discogs
938:Discogs
922:Discogs
634:20, No.
574:3679938
394:Max/MSP
327:wavelet
254:on the
188:History
1098:Vector
902:
864:
845:
826:
800:
646:33–38.
644:
640:
636:
632:
630:, Vol.
610:
600:
572:
535:
510:
384:Csound
368:syntax
300:rhythm
296:
288:
284:
272:second
268:sample
262:, the
252:sounds
157:timbre
118:timbre
103:phases
99:grains
1026:types
928:nscor
912:Field
908:nscor
812:Books
570:JSTOR
412:ChucK
199:lemma
114:cloud
33:is a
955:and
910:and
900:ISBN
862:ISBN
843:ISBN
824:ISBN
798:ISBN
608:ISBN
598:, p.
533:ISBN
508:ISBN
309:and
298:Hz,
1078:or
973:at
961:at
951:at
936:at
920:at
562:doi
335:fof
302:).
1209::
924:.
879:.
747:.
723:.
698:.
673:.
606:.
582:^
568:.
558:12
556:.
494:^
337:,
333:,
329:,
325:,
317:,
95:ms
41:.
1016:e
1009:t
1002:v
870:.
851:.
832:.
751:.
733:.
709:.
684:.
659:.
614:.
576:.
564::
541:.
516:.
212:t
171:.
159:.
84:.
20:)
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