#SOUNDHACK FREE SOFTWARE SOFTWARE#
#SOUNDHACK FREE SOFTWARE MAC#

#SOUNDHACK FREE SOFTWARE MAC#

I bought a book on programming with Think C and the Mac Toolbox, and started work on SoundHack (Figure 1). When production moved from Oakland to NYC in the fall, and Tom Hamilton took over my role, I finally had time to create the tool I no longer needed for Improvement, but wanted regardless. Instead, the airport was created with reverb, live equalisation and panning, and the Greek chorus modulated a gated Buchla Touché drone providing the pitched resonance.

#SOUNDHACK FREE SOFTWARE SOFTWARE#

Unfortunately:, the CCM did not own an expensive Unix workstation to run the CARL software distribution (Loy Reference Loy2002), and my attempts to quickly port Mark Dolson’s convolvesf application to a Macintosh System 6 were too difficult to complete while following our 60 hour a week recording schedule. I realised that to sculpt this sound I really would have liked to use sound-file convolution for cross-synthesis. When developing the treatments for the Greek chorus and scene 2, ‘The Airline Ticket Counter’, I needed to create specific spaces and resonances that followed the score and conveyed the location, the relation of the characters and any subtext. The character Don (played by Thomas Buckner) was a tap dancer, hence a layer of Tom’s vocals containing only plosives and fricatives that I filtered and gated for more percussive effect. This represented both her constant internal dialog and her mnemonic system in ‘The Contents of Her Purse’. For instance, the protagonist Linda’s voice (played by Jacqueline Humbert) was recorded with multiple layers: spoken, sung, echoed and spatialised. With our ‘studio as an instrument’ (a Lexicon PCM70, Drawmer dynamics processor, Alesis Quadraverb, mixer, 24-track and Opcode Vision to automate parameters), David Rosenboom and I were to develop vocal treatments and backgrounds specific to each scene and to each performer. One of my main tasks was to develop unique sonic identities for each of the characters in the opera. We worked at the recording and electronic music studios of the Center for Contemporary Music at Mills College. In the spring and summer of 1989 I was engaged as a recording engineer and electronic musician (along with David Rosenboom, Tom Hamilton and Sam Ashley) for the recording of Robert Ashley’s opera Improvement (Ashley Reference Ashley1992). Robert Ashley and the beginning of SoundHack The current version of this documentation is located at Is available through anonymous ftp to (internetĪddress: 198.182.157.104) in directory /pub/SoundHack. The current shareware version of SoundHack (SoundHack, SoundHackNF and documentation) Will email you updated versions as I finish them.įor those of you without internet access, SoundHack is also available from either Once you are registered, I will email you the Power Macintosh native binary and My addressĪs a registered user you are entitled to email help Send me either $30.00 or some music or art that you have created. If you use it and would like to become a registered user, Most Macintosh software archives or from John Neil & Associates It will also run on FPUless Macintoshes (except 68LC040 machines) with John Neil'sĮxcellent SoftwareFPU floating point emulator. SoundHack FPU runs on 680x0 Macintoshes with hardware floating point. Version that will work on 68LC040 based Macintoshes. SoundHack NF runs on all Macintoshes, albeit very slowly. SoundHack requires System 7.0 to operate, Sound Manager 3.0 to playback soundfilesĪnd Quicktime 2.0 to import CD audio tracks. Please write me if you have any problems or suggestions! The rest of this document is a small tutorial (in progress) then a menu by menu description of

Perform more spectral hacking with the spectral dynamics processor and the spectral.Cross-breed two soundfiles with soundfile convolution, ring modulation.Time stretching or pitch shifting with the.Read and write Sound Designer II, Audio IFC, Audio IFF, BICSF (IRCAM),ĭSP Designer, Microsoft WAVE (RIFF), NeXT.

Change values in the soundfile header (sample rate, number of channels, loop.

Convert between different types of soundfiles with optional.

Record any size soundfile from the Macintosh sound input.

Play almost any type of soundfile (including AU, AIFF and WAVE).

Multimedia artists, webmasters and anyone else who enjoys working with sound. Theseįunctions make SoundHack invaluable to computer musicians, sound effects designers, Utility and esoteric sound processing functions available nowhere else. Valencia, CA is a soundfile processing program for the Macintosh.

Soundhack free software