![]() I realised that to sculpt this sound I really would have liked to use sound-file convolution for cross-synthesis. Unfortunately:, the CCM did not own an expensive Unix workstation to run the CARL software distribution (Loy Reference Loy2002), and my attempts to quickly port Mark Dolson’s convolvesf application to a Macintosh System 6 were too difficult to complete while following our 60 hour a week recording schedule. Instead, the airport was created with reverb, live equalisation and panning, and the Greek chorus modulated a gated Buchla Touché drone providing the pitched resonance. When production moved from Oakland to NYC in the fall, and Tom Hamilton took over my role, I finally had time to create the tool I no longer needed for Improvement, but wanted regardless. I bought a book on programming with Think C and the Mac Toolbox, and started work on SoundHack (Figure 1). My main motivation for programming SoundHack was to make new computer music techniques easily available to the experimental musician community. I became aware of much of the interesting research in computer music during my time as a research assistant at the Center for Music Experiment at UC San Diego (1984–87). ![]() Not only was I excited by the sonic possibilities of these techniques, but I was also excited at what sonic creations experimental and electronic musicians might make with them. There was also a very practical motivation for the development of SoundHack. At the time, the tools that we used all had their own sound file formats.
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