Audio and Video Syncopation Chart

The first step I took when creating the Winter 2012 Who is Tomasso Antonio promotional video was to gather all audio and video settings. After all settings were assessed the creation of an audio and video syncopation chart was necessary.

The audio's tempo is 120 beats per minute.  The video editing program has a default setting of 30 frames per second. Since the 30 frames per second setting creates limitations, a modification of the allotted frames per second, per note, was necessary. Example, because a quarter note requires 16 frames per second one would need 32 frames to equal 2 quarter notes, however, the default setting only allows 30 frames per second. So in order for the audio to sync with the video's frames one would have to modify each quarter note to 15 frames per second. This creates a chain reaction making it necessary that the subtraction of a single frame is accounted for at the end of each note category division. 

Once the audio and video syncopation chart was complete the evaluation of the score was necessary to plot were movement would take place within each individual frame.

Steinberg Monologue Continuous Controller Chart

I rely heavily on continuos controllers to achieve technically desired results while composing within the Cubase digital audio platform. I have created a continuous controller chart for several of the VST instruments to use as a quick reference guide. 

I divided the chart into sections that directly correspond to the controller sections that the virtual instrument is divided into. I start from the top left and continue to top right. I then go to center left and continue to center right. Finally, I chart bottom left to bottom right.

The controllers themselves are charted in the exact same manner. When looking at the top left box, OSC 1, I start with the top controllers, row 1, proceeding from left to right. I then continue to the next set of controllers, row 2, again proceeding from left to right. For example: The top left box is OSC 1 I begin with the wave controller, top right, I then proceed to the coarse controller, middle left, followed by the fine controller, middle right. I finish with the depth controller, bottom left, and the MOD SRC controller, bottom right.

Steinberg Embracer Continuous Controller Chart

I rely heavily on continuous controllers to achieve technically desired results when composing within the Cubase digital audio platform. I have created a continuous controller chart for several of the VST instruments to use as a quick reference guide. 

I divided the chart into sections that directly correspond to the organization of the virtual instrument controllers. I start from the top left and continue to top right. I then proceed to center left and continue to center right. Note that even though the top and center boxes are divided on the Embracer both top and center right or left correspond to a single open sound control, OSC 1 or OSC 2. So naturally I listed the two together, however, separating with a single space to identify the top controllers from the center controllers. Finally, I charted from bottom left to bottom right.

The controllers themselves are charted in the exact same manner. When looking at the top left box, OSC 1, I start with the top controllers, row 1, proceeding from left to right. I then continue to the next set of controllers, row 2, again proceeding from left to right. For example: The top left controllers correspond to OSC 1. I begin with the wave controller, top center, I then proceed to the tone controller, bottom left, and finally end with the width controller, bottom right.

Semitone Charts

Throughout the THRUST series project I encountered a number of creative obstacles. I found online resources to be of great help.

I created several semitone charts for the Pitchbend continuous controller when using Cubase 5. Refer to the semitone chart that directly reflects your instruments Pitchbend range. For example: If the pitch bend range is set to 05, then you will use the 05 semitone chart. As noted on the chart, the numbers given are exact values and are not necessary to achieve desired results. Any given value within the range, of two semitone exact values, may be used to attain the desired semitone. 

The twelve semitone charts below are for Pitchbend settings of 01 to 12 both ascending and descending.