LEADER 00851nam0-2200289 --450 001 9910285857503321 005 20181009131100.0 010 $a978-88-575-2640-9 100 $a20181009d2015----kmuy0itay5050 ba 101 0 $aita 102 $aIT 105 $a 001yy 200 1 $aCosì perfetti e utili$egenealogia dello sfruttamento animale$fBenedetta Piazzesi 210 $aMilano$aUdine$cMimesis$d2015 215 $a184 p.$cill.$d22 cm 225 1 $aMimesis. Eterotopie$v299 610 0 $aAnimali e uomo 610 0 $aAnimali$aConcezione$aStoria 676 $a179.3$v21$zita 700 1$aPiazzesi,$bBenedetta$0758965 801 0$aIT$bUNINA$gREICAT$2UNIMARC 901 $aBK 912 $a9910285857503321 952 $aCOLLEZ. 2467 (299)$b2432/2018$fFSPBC 959 $aFSPBC 996 $aCosì perfetti e utili$91533686 997 $aUNINA LEADER 01009nam a2200289 i 4500 001 991000816019707536 005 20020506124629.0 008 960309s1980 us ||| | eng 020 $a012014574X 035 $ab10133616-39ule_inst 035 $aLE00637317$9ExL 040 $aDip.to Fisica$bita 084 $a53.2.8 084 $a537.5'6 084 $aQC793.5.E622 100 1 $aSeptier, Albert$050505 245 10$aApplied charged particle optics :$bpart B /$cedited by A. Septier 260 $aNew York :$bAcademic Press, Inc.,$c1980 300 $a392 p. ;$c23 cm. 490 0 $aAdvances in electronics and electron physics.$pSupplement ;$v13B 650 4$aElectron optics 907 $a.b10133616$b17-02-17$c27-06-02 912 $a991000816019707536 945 $aLE006 53.2.8 SEP$g1$i2006000046732$lle006$o-$pE0.00$q-$rl$s- $t0$u1$v0$w1$x0$y.i10157104$z27-06-02 996 $aApplied charged particle optics$9185459 997 $aUNISALENTO 998 $ale006$b01-01-96$cm$da $e-$feng$gus $h0$i1 LEADER 04595nam 2200589 450 001 9910787493003321 005 20230807212341.0 010 $a0-19-997381-4 010 $a0-19-997394-6 035 $a(CKB)3710000000329341 035 $a(EBL)1911966 035 $a(Au-PeEL)EBL1911966 035 $a(CaPaEBR)ebr11000838 035 $a(OCoLC)899942203 035 $a(MiAaPQ)EBC1911966 035 $a(EXLCZ)993710000000329341 100 $a20150116h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aInteractive composition $estrategies using Ableton Live and Max for Live /$fV. J. Manzo and Will Kuhn 210 1$aOxford, England :$cOxford University Press,$d2015. 210 4$d©2015 215 $a1 online resource (281 p.) 300 $aDescription based upon print version of record. 311 $a0-19-997395-4 311 $a0-19-997382-2 320 $aIncludes bibliographical references and index. 327 $aCover; Contents; Foreword; Preface; Acknowledgments; About the Companion Website; 1 Basics; Companion Site and Files; Basic Setup; Working in Live; On Your Own; 2 Session View; Session View; Adding Effects; Key and MIDI Mapping; Record to Arrangement View; On Your Own; 3 Introduction to Max for Live; Why Would I Want to Start Programming?; Writing a MIDI Program; On Your Own; 4 Ambient; Getting Started; Other Instruments; Form; On Your Own; 5 Pop and Rock Music; Enhancing the Recording with Effects; Automation; Making It Performable in a Live Situation 327 $aUsing the Return Tracks as Monitor MixesMultiple Sessions in One Session; Live for Practicing; On Your Own; Monkey FX Guide; 6 Electroacoustic Music; Preparing the Canvas; Preparing the Form; Preparing Computer-Generated Sounds; Preparing the Session for Performance; Composition Examples; On Your Own; 7 Modern Hip-Hop and Trap Music; Drum Patterns; Sub Kicks and Bass Lines; Buildup Patterns; Chord Sequences; Stabs; Lasers; Chipmunk Vocals and Shouts; Composition Examples; On Your Own; 8 House Music; Kick Drum and Essential Elements; Electro Bass Synth 327 $aSetting Up Mix Groups and Sidechain DuckingForm and Arrangement; On Your Own; 9 Breakbeat/Drum and Bass; Creating a Sampled Loop; Reese Bass; Sub Bass and Advanced Reese; Sampled Sirens and Other Instruments; Buildup Scene; Mixing; Form Considerations; On Your Own; 10 Chiptune; Designing a Custom Chip Instrument; Using the Custom Chip Sounds; Auto-Chords and MIDI Reuse; Sampled Chip Sounds; 8-Bit Drums; Form and Structure; On Your Own; 11 Granular Synthesis; Basic Sampling; Wavetable Synthesis with Simpler; Granular Synthesis with Granulator II; Drums from a Voice; Mixing; On Your Own 327 $a12 DubstepDrum Patterns; Bass Instruments and Resampling; Treble Leads; Risers; Initial Mixing; On Your Own; 13 Remixing and Loop Sampling; Simple Remixing; Mashups; Sampling Loops from Preexisting Songs; Remixing an Acapella; On Your Own; 14 Mastering; Generic Mixing Technique; The Master Track; The Limiter; The Mastering Chain; Compression on the Master Track; Equalizing on the Master Track; Multiband Dynamics; The Loudness War; Exporting; On Your Own; 15 Analysis of Projects; Live Rig; Pedalman Pro; Wrap-Up; On Your Own; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P 327 $aQR; S; T; U; V; W; Y; Z 330 $aInteractive Composition empowers readers with all of the practical skills and insights they need to compose and perform electronic popular music in a variety of popular styles. The book begins by introducing all of the tools involved in creating interactive compositions through the software Ableton Live and Max for Live. The following chapters then put the tools to use by both describing particular musical styles and also teaching readers how to compose and perform within these styles using the software. As readers progresses through the book, they will learn to use the software to facilitate 606 $aDigital audio editors 606 $aSoftware synthesizers 606 $aComposition (Music)$xComputer programs 615 0$aDigital audio editors. 615 0$aSoftware synthesizers. 615 0$aComposition (Music)$xComputer programs. 676 $a781.3/453 700 $aManzo$b V. J.$01482902 702 $aKuhn$b Will 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787493003321 996 $aInteractive composition$93700836 997 $aUNINA