Illusions of Liveness: Producer as Composer

<p>The practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer. It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments. These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.</p>

Illusions of Liveness: Producer as Composer

<p>The practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer. It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments. These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.</p>

Virtual Instruments for Urban Design Decision-Making Process

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Virtual Instruments for Urban Design Decision-Making Process

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Blank Music

This chapter examines the marketing of virtual instruments, especially those designed to emulate traditional orchestral instruments using samples. The chapter considers marketing strategies for these instruments and analytically reconstructs how companies specializing in virtual instruments design and organize their advertising appeal through their websites. The chapter looks primarily at the advertising copy, the product images, and the musical demos to show that the so-called epic style in particular serves not just as a measure of how these instruments can produce properly “cinematic” music, but also how epic style itself reflects the basic aspirational fantasy of the media composer. The latter makes epic style an especially good advertising lure.

Implementation of a non-contact method for monitoring the patient's breathing and heartbeat during a magnetotherapy session

Nowadays, it is becoming especially important to use in clinical practice non-contact automated methods and hardware and software for the prompt obtaining of objective diagnostic information about the current physiological state of the patient during physiotherapy sessions. In particular, in magnetotherapy, there is a need for continuous monitoring of the patient's body responses to magnetic effects, so that the doctor can visually observe the dynamics of the normalization of the patient's vital signs, quickly assess the effectiveness of the treatment technique and, if possible, correct biotropic parameters. The problem is that today there are no non-contact diagnostic tools that can work together with magnetotherapy equipment under the control of a single computer and promptly present a large set of diagnostic indicators to the doctor in real time. An important feature and advantage of the proposed method is the use of publicly available standard and certified hardware tools for building a monitoring system: a personal computer, a web camera, a mouse, and a USB interface. The functions of a sensor or primary measuring transducer are performed by a webcam with high sensitivity and resolution. The original software is in the form of virtual instruments in the LabVIEW environment and the Vison Development application. As a result of this development, it became possible to flexibly control both the process of formation and reproduction of magnetic therapy effects and the process of automatic control of the patient's physiological state during a therapy session. Rapid assessment of diagnostic indicators also allows not only objectively, documenting and quantitatively confirming the level of effectiveness of each treatment session, but also serves the doctor with timely information to correct the method of exposure. Purpose – to show the possibility of implementing a non-contact method for monitoring the patient's breathing and heartbeat process, on-line assessment of diagnostic indicators using standard and publicly available hardware and software. A method has been developed and an algorithm has been implemented for non-contact monitoring of the patient's respiration and heartbeat on the basis of a personal computer, web camera, virtual instruments of the LabVIEW library and the Vison Development application. It is shown that the algorithm fully meets the requirements for computer vision algorithms: robustness, accuracy, and computational feasibility. The algorithm provides stability of video information conversion processes to significant distortions and changing factors, elimination of errors in object positioning or false detection, as well as a quick search for an object and a targeted organization of the image analysis process. Practical significance. The introduction of the developed hardware and software into the systems of complex magnetotherapy «Multimag» and «Relaxmag» will significantly increase the effectiveness of treatment due to the operational and continuous monitoring of the functional state of the patient and an objective assessment of a number of diagnostic indicators.