Music 680: Electronics in Performance
Fall 2004
Lecture 3: September 27, 2004

	Christopher Burns "Realizing Lucier and Stockhausen" article
	Alvin Lucier "I am sitting in a room" score

Alvin Lucier "I am sitting in a room" (1969)
	introduction to the work
		speech into music; discontinuity into continuity
		rendering the acoustics of a room obvious
		minimalism: repetition and process

technical issues for realization
	realtime versus offline
	physical tuning of the performance/recording space
	choice of text
	delay length for realtime
	long-term gain calibration

realtime electronics realization
	simple (long) delay as the easiest way to produce the piece
		delwrite~, delwrite~, [vd~]
		regeneration as a physical process, not a software process
	gain calibration
		crudely, through polynomial waveshaping
			(x - (x^3)) / 3 for -2/3 <= x <= 2/3
			or (x - (x^9)) / 9 for -9/10 <= x <= 9/10
		more effectively through traditional peak-gain compression
			using the env~ object to track RMS of input and modify accordingly
			consider a long average: 1024^2 samples? (23.7 seconds)
			is a look-ahead delay necessary with such a long average?
		simpler strategy:
			capture short-time env~ values at input
			delay those values by delay length [and lowpass filter them?]
			compare current input env~ to delayed env~
			adjust current gain accordingly
	spectrum calibration
		filters in software as cheating?

time-domain signal processing: delay and reverberation
	[leaving the frequency-domain aspects aside until we reach Mikrophonie I]

preparation for creative assignment:
	means: oscillators, delay, gain control, ramps (and anything else you discover)
	pushing a technique/process/idea to a logical (or illogical) extreme

then returning to sinusoids
	demonstrating additive synthesis
		constructing a square wave from odd harmonics
		using osc~ banks, and then using tabosc4~?
	demonstrating frequency modulation
		building from vibrato