Environment     Cybermusic Workspace

Overview

Cybertrack Generator

The Cybertrack Generator is used to produce streams of sound, usually within a time scope of 10 to 30 seconds, or above. Records of this sound streams are called Cybertracks. Cybertracks can be produced with any kind of electro-acoustic real-time or non-real-time equipment. Ideal cybertrack generators are open systems that enable for systematic sound control and derivation, such as MAX, Common Lisp Music (CLM), CMUSIC, CSCORE/CSOUND, and others.

Cybertrack Editor (Example: CELSYUS)

Generic Sounds Sounds that are processed by a cybertrack generator are either records (samples) taken from outer sources, or produced with various methods of sound synthesis (oscillators, etc.) directly by the generator. A very rough classification of sounds can be viewed in the Music on Demand section.

Musical Parameters Generic sounds are controlled by musical parameters provided by the cybertrack generator. Musical parameters are explained in the next section of this course.

Algorithmic Procedures Algorithmic procedures determine, how the generic sounds are controlled by the musical parameters. For example, a procedure that produces random values is applied to the frequency parameter of a sine oscillator. A typical assembly of algorithmic procedures can be viewed in the Functional Overview section of the "Software Development" forum.

Cybertrack Model A cybertrack model is built of algorithmic procedures and represents a cybernetic system that can be used to produce a certain group of cybertracks. This group belongs usually to a Cybertrack Family (see below). Listening samples of cybertracks can be found in the Sound Banks section.

Cybertrack Family Groups of cybertracks with similar characteristics are called Cybertrack Families. Family members are always belonging to the same Cybertrack Type. The following two listening samples are belonging to the same cybertrack family: Sample 1, Sample 2.

Cybertrack Type Cybertracks can be classified according to general musical structure types. Section Cybertrack Types provides a short description of 16 basic structure types that can be used in cybermusic. The following two listening samples are belonging to the same cybertrack type: Sample 3, Sample 4.

Cybertrack Collection The entirety of all cybertracks designed for a piece of cybermusic is called a Cybermusic Collection. This collection represents a virtual space of "possible solutions" for the piece. Sound Banks can include cybertrack collections for mutual projects (cybertrack interchange).

Composition Editor

The Composition Editor is used to interactively arrange clips of cybertracks in a multitrack pane. The musical interrelations of the arranged clips depend from the dynamic quality of the cybertracks, from their degree of similarity, and from various arrangement methods that are applied. Composition editors are, for example, ProTools, Samplitude, CuBase Audio.

Composition Editor (Example: Samplitude 2.0)

Metric Modulation Metric Modulation is an arrangement procedure used in a composition editor to continuously increase and decrease the entry points of cybertrack clips. This procedure provides the basic skeleton for a floating musical stream that does not rely on a periodic metric system, but allows discontinuous events to appear without interfering with the musical stream.

Pitch & Sound Modulation Pitch and sound modulations can be applied to create an overall envelope over a cybertrack and to constitute its dynamic quality. Cybertracks with continuous pitch and sound modulations are suitable for the creation of compositional continuity on higher levels, without relying on periodical harmonics and primary instrumental patterns.

Cybertrack Counterpoint The interrelations between cybertrack clips can be classified according to their physical appearance and their inner characteristics. A description of cybertrack counterpoint methods can be found in the Cybertrack Counterpoint section.

Composition Type The general profile of the cybertrack interrelations expresses a certain "mentality" of the composition, called a Composition Type. Composition types are explained in the Composition Type section.

Production Environment

A composition draft produced by the composition editor requires a finish up regarding sound mix, sound panorama, room simulation and other methods of global sound editing and channeling. The production environment is provided by any electro-acoustic studio equipment (analog and digital devices), including computer hard- and software. In addition, media production and distribution equipment is required, such as production units for storage media, DTP equipment, Internet and other communication channels.

Room Simulation Application (Example: EWS 64, FX Module)

Sound Editing Methods: Declick, Denoise, Mixer, Filter, Equalizer, Sound Effects, Compression and Decompression, etc. Although cybertrack models may already include the above methods, a global sound review is always recommended.

Room Simulation Methods: Room size, Room characteristics (dynamic filters, density), etc. Although cybertrack models may already include room simulation methods, a global sound review is always recommended.

Endmix Final production of the cybermusic master.

Versioning A piece of cybermusic may be designed for multiple channels, may need to be adapted interactively, recorded, re-mixed, being prepared for various public rooms or sites (installations), or may have different musical versions (selections, re-order of parts, etc.) that need to be produced.

Packaging Producing the master versions on archiving media, archiving of resources, producing copies on media for distribution (CD, Internet, etc.), on-line and printed documentation.

Distribution Creating marketing material, launching applications, distributor communication, concert organization, and other public relations activities.

RELATED TOPICS

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