At the same time, the repertoire is virtually unlimited, as the modules can be combined in ever new ways (e.g. FScape is used by composers worldwide and is also suitable for teaching, as the basic setup is fairly simple and some modules quickly provide rewarding results with minimum prior knowledge. ![]() For instance, in my piece «Inter-Play / Re-Sound», parts of the past improvisation – which is record continuously – are picked out, transformed and re-injected, after only a few seconds of processing, as new material for the ongoing piece.Īlthough many modules have close relationships with particular pieces I wrote, they nevertheless form a universal toolkit for any work on concrete sounds. There are many processes, however, which run hundred times faster than real-time, opening intesting applications for the embedding (using an OSC interface) of FScape in real-time improvisation or installations. This allows on the one hand to access the sounds in a non linear fashion, but also facilitates complex calculations which even today would not be possible in real-time speed. "resource-rich and highly recommended for anyone looking for some wild ways to bend, fold, spindle, and mutilate audio." (Dave Phillips for Linux Journal)įScape received the 2014 LoMus award of the Association Française d’Informatique Musicale (AFIM).Ī peculiarity is the fact that all modules operate in non real-time. The sounds I'm getting out of it so far have been killer. "It feels like a cross between SoundHack, Syd, and Argeiphontes Lyre. Highly useful within sound design." (filmcrewpro) "Can be used to manipulate audio into weird and wonderful sounds. Many of the processes and their ways of parametrisation are unique. From simple utilities such as separating channels, normalising, cutting and splicing sounds, through various DSP and filtering algorithms to more complex algorithmic units which take a sound, analyse it, and rearrange it in new forms. Today FScape consists of around fifty independent modules for rendering audio files. Originally it started as an extension to Tom Erbe's SoundHack, providing 'spectral operators'. It leads like a red thread throughout my musical work, by conceiving sound as a 'clay', a flexible, sculptural mass. In this version: A few minor tweaks to SoundHack, the main one is that SDIF spectral files are now well supported.The development of FScape began in the year 2000 (happy 14th anniversary!). au, ULaw, IMA4, TEXT and headerless (raw) soundfiles Read and write Sound Designer II, Audio IFC, Audio IFF, BICSF (IRCAM), DSP Designer, QuickTime/AIFF, Microsoft WAV (RIFF), NeXT.Change values in the soundfile header (sample rate, number of channels, loop points and marker info).Convert between different types of soundfiles with optional gain scaling and sample rate conversion.Record any size soundfile from the Macintosh sound input.Play almost any type of soundfile (including AU, AIFF and WAV).Save sonograms of your soundfile in QuickTimeô movies or convert QuickTime movies into sound by sonographic analysis. ![]()
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