An extract from Uppvaknande, demonstrating use of the
IMPAC program (at EMS, Stockholm in the 1970s) to produce
timbres as well as granular textures.
An extract from Malarsang, demonstrating the use of FOF
synthesis to produce both granular textures and timbral
synthesis (especially vocal imitation). It illustrates the
possibility of moving continuously between timbral and textural
synthesis, freely crossing the divide of the time and frequency
domains.
A synthesized vocal timbre (FOF)
dissolves into a granular texture with several independent
streams before reforming as a voice.
A bass clarinet recording is granulated using FOG. The
granulation divides into five streams which diverge and reform.
In the first version, a frequency control is used for the
'speed' parameter and phase synchronisation cannot be restored.
In the second version, phase control permits exact
resynchronisation.
Reference: Michael Clarke, "Composing at the
intersection of time and frequency." Organised Sound,
1(2), 1996.
