1. Compose a one-minute (min.) piece in which: At least four different textures are used. At least three transitions between the textures are created. You must have: > at least one cross-fading transition; > at least one segue transition; and > at least one compound transition. Transition exercise Digital Techniques II Workshop

2. Technique #1: Cross-fading textures (By far the most common transitional technique used in EA composition) Texture #1 Texture #2 (Use volume automation for cross-fade) Transition exercise Digital Techniques II Workshop

3. Technique # 2: Texture segues 3. It is also possible to return to the first (or another) texture after the first segue, and then cut back and forth between the two textures numerous times. 1. choose two contrasting textures: 2. cut abruptly from one texture to the other at an appropriate point; Texture 1Texture 2 Texture 1Texture 2 Texture 1Texture 2/otherTexture 1 Texture 2/other (a number of different strategies work, e.g. abrupt or diversionary segues) Transition exercise Digital Techniques II Workshop

4. Technique #3: Compound transitions Cross-fading texture, part 1 Cross-fading texture, part 2 Transition exercise Segue texture, part 1Segue texture, part 2 In a more complex layering scheme, more than one type of transition between layered textures can occur along the same timeline Digital Techniques II Workshop

5. In Peak, choose a sound and a target area for the zero edit: Digital Techniques II Workshop Zero-sample editing exercises

6. Zoom the target part of the edit to the sample level: Digital Techniques II Workshop Zero-sample editing exercises

7. Deactivate the “Auto Snap” function (should not be checked): Digital Techniques II Workshop Zero-sample editing exercises

8. Find a zero sample (or a sample very close to the zero line): Digital Techniques II Workshop Zero-sample editing exercises

9. Select from the zero sample to the end of the first sound and Cut (or to the beginning and Crop) Digital Techniques II Workshop Zero-sample editing exercises

10. The zero sample should now be the last in the edited first sound: Digital Techniques II Workshop Zero-sample editing exercises

11. Choose a second sound and a target joining point: Digital Techniques II Workshop Zero-sample editing exercises

12. Zoom the target area to the sample level and find a zero sample (whose previous sample comes from the opposite direction than the first sound’s): Digital Techniques II Workshop Zero-sample editing exercises

13. Select from the zero sample to the beginning of the 2nd sound and Cut (or to the end and Crop) Digital Techniques II Workshop Zero-sample editing exercises

14. The zero sample should now be the first in the edited second sound: Digital Techniques II Workshop Zero-sample editing exercises

15. Join the two sounds at their zero samples by selecting all of the second sound and pasting it after the last sample of the first sound: Digital Techniques II Workshop Zero-sample editing exercises

16. Three ‘virtual gestures’: Choose 3 sounds with sharp, distinctive attacks Choose 3 other sounds with slower attacks and longer decays In each virtual gesture, combine two sounds such that the attack of the 1st sound leads directly to the 2nd, as if causing the latter to occur e.g.: breaker Switch, Car by fast In exercise 3, use the zero-sample editing technique to create: Zero-sample editing exercises Digital Techniques II Workshop

17. In Peak (or SoundMaker, or your own software, in which similar instructions apply): Import a speech recording, then create a new mono file; you will go back and forth between the two documents throughout the exercise: In the new document, insert 5 seconds of silence and deselect. Zero-sample editing exercises Digital Techniques II Workshop

18. Locate and select the first hard consonant required (e.g. the ‘s’ in ‘Sue’, taking it from the word /s/eemed in the unedited phrase): Paste the consonant into the new document, making sure the beginning is clean and natural- sounding (if it is not,select the very beginning and use the DSP > Fade In function to ease it in): Zero-sample editing exercises Digital Techniques II Workshop

19. Locate the following vowel (e.g. the ‘ue’ in ‘Sue’, taking it from the word t/oo/ in the unedited phrase): Paste the vowel into the new document immediately after the previously inserted ‘s’: Zero-sample editing exercises Digital Techniques II Workshop

20. Next, examine the ‘join’ between the consonant and the vowel by zooming in on the spot: Zoom in further and look for the best way to join a part of the consonant rising to zero and a part of the vowel rising from zero (or vice-versa) at — or very near — the zero-sample line: (Select between the two points, delete, and then listen to verify if the edit is smooth) Zero-sample editing exercises Digital Techniques II Workshop

21. in oo In the pit, the car's entire team seemed far too at ease. ‘Recipe’ recorded phrase: Possible Virtual Words: Sue; Zoo; sin; since; teas(e); sit; sire, etc. Methodology: oos ire ’stease sit In the pit, the car's entire team seemed far too at ease. (Zoo) (Sue) ss (Since) inss Zero-sample editing exercises Digital Techniques II Workshop

22. For exercise 4, continue in similar fashion until at least seven virtual words are completed. Continually verify that the words are as natural sounding as possible, as well as being alert to transient clicks, abrupt beginnings, endings or transitions, and other technical glitches. The virtual words should be handed in as a single mono AIF or WAV file. Include your initials in the file name, e.g. MP_speech_edit.aif The original recorded phrase should come first, followed by the virtual words. Leave one or two seconds of space between each virtual word. Zero-sample editing exercises Digital Techniques II Workshop