Creative Abuse in Time Stretching

Paterson J. Creative Abuse in Time Stretching. In: AES Convention 130. Audio Engineering Society; 2011.pp. 9:1-. Available from: https://aes.org/publications/elibrary-page/?id=16567

@inproceedings{Paterson2011_16567,
  author = {Paterson, Justin},
  title = {{Creative Abuse in Time Stretching}},
  booktitle = {AES Convention 130},
  pages = {9:1-},
  year = {2011},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=16567}
}

TY  - CPAPER
TI  - Creative Abuse in Time Stretching
AU  - Paterson, Justin
T2  - AES Convention 130
SP  - 1
M1  - Paper 9
PY  - 2011
DA  - 2011/05/06
UR  - https://aes.org/publications/elibrary-page/?id=16567
PB  - Audio Engineering Society
LA  - en
AB  - An area of digital audio manipulation currently in flux is that of time stretching. Following the emergence of real-time granular synthesis as a compositional tool, early sampler-based implementations were pushed beyond "authenticity" to create new timbres in the commercial music of the 1990s. As the algorithms improve, allowing more flexible and transparent implementation today, even more opportunities for a new "creative abuse" exist. This brief will first contextualize through consideration of the metaphor of authenticity in the tape recording of the 1940s and its soon-parallel abuse, which offered new pathways into multi-tracking and Musique Concrète. The brief will chronologize, and continue by examining potential for exploitation of stretching artifacts in some contemporary algorithms, and propose a quantification of this effect.
ER  -