CNMAT Flashback

A look back at some items in our archives.

Archive Browser

Browse CNMAT content by type
Tool

audition-soundfiles~

Preview a folder of sounds for playback. You can choose from a menu, by id, or at random. Set gain for individual sounds to be played back with and repeat played of chosen soundfiles.

Tool

pathpop

Specifies an offset of directories to pop up from the current patch's directory. An argument of zero outputs the current patch's directory.

Tool

pstore-simple-storage

A quick way to store and recall slots. Basically a drop in replacement for the preset object, with some enhancements.
Use this is an object prototype for quick access in building and/or testing the functionality of a patch.

Tool

durations-to-onsets

This helpful abstraction takes an input list of beat durations and converts it to the appropriate amount of spaces for n-beats. The first beat in the list is the event, then the next (n-1) beats (if applicable), are non events, or resets. Consequentially, the output list's length is equivalent to the summed amount of beat durations...

Tool

simple-stereo-gain~

Send stereo signals into this abstraction for LR output. This patch is meant to be used as a bpatcher that you copy (from the help file) and paste into your patch.
It contains two gain~ sliders which scale the incoming signals exponentially.
You can also add it as a bpatcher prototype so that you don't have to re-patch your audio outputs every time you create a new patcher file.

Tool

harmonics (list)

harmonics is a utility that generates n harmonics above a given fundamental, as a list.
The arguments are and .

Tool

Alone in a Crowded Room

Alone in a Crowded Room
a situation for solo alto flute and live electronics
(2005)

Michael Ferriell Zbyszynski

My musical interests in Alone in a Crowded Room are twofold. Electronically, I am exploring macroscopic and microscopic processes in the time domain. At the same time, I am engaged with the physical reality of the alto flute and by extension, the flautist.

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Visitor Information

1750 Arch Street

Berkeley, CA 94709

(510) 643 9990 Voice

(510) 642 7918 Fax



We are located just north of the UC Berkeley main campus on Arch Street,
one block above Hearst.

Although we welcome visits, round the clock activity in our studios,
laboratories and performance space precludes unscheduled surprises. Please
contact our administrator to set up appointments.

The campus maintains
general
transit information for the area
. Detailed, specific directions are

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Community Calendar

Events view

- public events
- internal events, e.g. meetings, special sessions for students (not including reservations)
- deadlines for submission, etc

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1997 Interview with Richard Felciano by Eric Tomb

"The most consistent influence," Richard Felciano has written about his life, "is that of my childhood in a small northern California community with substantial Japanese and Portuguese populations. From these groups I learned a sense of ritual, of structure, of awe, and of music as a social function....The reality of the world to me is East and West, stasis and dynamism, meditation and dialectic. It is also what California is - the edge where the two meet."

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List of Works

Works addressing acoustical or electro-acoustical issues by Richard Felciano

Orchestral Music:
Camp Songs for chamber orchestra
Concerto for Organ and Orchestra
Galactic Rounds for orchestra
Mutations for Orchestra
Overture Concertante for clarinet and orchestra
Symphony for string orchestra

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Biography of Richard Felciano

My work in electronic music began in the early sixties, as a part of
the San Francisco Tape Music Center with Morton Subotnick, Ramon Sender
and Pauline Oliveros. Possibly the most formative experience came in 1967-8
as the composer-member of a resident five-artist group at the National Center
for Experiments in Television, established by the Rockefeller Foundation

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Gear Borrowing

All equipment that leaves the house needs to be reserved on the CNMAT reservation calendar. To do that, go to:

http://calendar.yahoo.com/

and login as:

user: cnmatreservation
password: reserve

Also, an exact list of all equipment leaving the house needs to be emailed to mzed@cnmat.berkeley.edu. Even if I am there and help you pick out the gear, I need *you* to make this list. Also included in this list is an estimate of when you plan to return the gear.

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Parallel Programming Patterns in Music and Audio

Dense Linear Algebra:

- Filter-banks (e.g. compressor / expander); in hearing aids, EQ.
- Basic linear operations for massively-multi-channel arrays (many-channel arrays)
- Dimensionality reduction for control paradigms (e.g. PCA)
- Sensor integration
- SVD

Sparse Linear Algebra:

- Spectral pruning
- Pitch extraction
- Concatenative synthesis?

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DAW on a Many-core System

I. Introduction

Software running on PCs has largely replaced the electronic and
electro-mechanical equipment previously used in audio and video
production.

For example, Apple's Final Cut Pro is a software video editor that has
largely replaced hardware video editors for movie trailer and
television news production. In audio recording studios, analog tape

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Parallel Computation Applications Summary

MIR: parametric encodings of large audio databases for search, beat matched hybridisation, query by humming etc. Move from per song analysis to note and phrase level.
Audio and video render farms to individually watermark large media databases.

Sound Reproduction
Increased channel count in typical musical performances from 4-8 to 100's of speakers.

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