programming with max/msp - Virtual Sound

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Interlude B - Additional elements of programming with Max/MSP There are two arguments associated with makenote, a velocity and a duration in milliseconds. In the patch, we have set velocity equal to 1 (a placeholder, as we will see), and duration equal to 500 milliseconds (or half a second). When the object receives a note-on, it will send the pitch and velocity of the note-on directly to its outlets, where, after the prescribed duration (500 milliseconds in this example) a note-off is also sent. Note that the velocity sent by the kslider (which in the example shown in the figure is a value of 103) overrides the value of 1 that had been provided as an argument. This first argument is only a placeholder that allows us to write a second argument, the note duration, after it. The second argument can also be modified by sending a value to the right inlet, which will replace the value originally specified in the second argument. Try playing some notes and changing the duration: observe how velocity values first reflect the value generated by kslider, and then, after the time specified by the duration parameter, they change to 0. Now add an addition object to the lower part of the patch as shown in Figure IB.3: Fig. IB.3 Transposing MIDI notes This patch is similar to the one in the file IA_01_transposition.maxpat, which we examined in the first section of Interlude A. In this case, every key pressed on the keyboard generates two notes simultaneously, separated by a distance of 7 semitones: the interval of a fifth. Every time that a kslider key is pressed, in fact, the value of the MIDI note number is sent to the makenote object and also to the addition object that adds 7 to the first note number and then sends its output to makenote. To create these note pairs, we didn’t need to repeat velocity and duration values, since these values are sent to “cold” inlets of the makenote object, which are stored as internal variables (the contents of internal variables are re-used every time that a new value arrives at the “hot” inlet). In the figure, for example, both notes (the middle C and the G above it) will have a velocity of 112 and a duration of 500 milliseconds. from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved IB 425
IB2 426 Practice From this example, you can see that Max’s rule about “hot” inlets being on the left is complementary with right-to-left execution, as discussed in Section 1.7. The first messages to be processed are those on the right, and processing these “cold” inlets initializes the internal variables in the object (such as the value for velocity used by makenote); the last message to be processed is to the “hot” inlet on the left, which causes output to occur only after internal variables have been set up. (...) other sections in this chapter: IB.2 THE MODULO OPERATOR AND RECURSION Recursion Constructing an arpeggiator IB.3 ROUTING SIGNALS AND MESSAGES IB.4 THE RELATIONAL OPERATORS AND THE SELECT OBJECT The select object A probabilistic metronome IB.5 REDUCING A LIST TO ITS PARTS: THE ITER OBJECT IB.6 ITERATIVE STRUCTURES IB.7 GENERATING RANDOM LISTS Paragraph IB.2 - The modulo operator and recursion IB.8 CALCULATIONS AND CONVERSIONS IN MAX The expr object Converting intervals and signals IB.9 USING ARRAYS AS ENVELOPES: SHEPARD TONES Repeating array-based envelopes Shepard tones ACTIVITIES • replaCing parts of algorithms - CorreCting algorithms • analyzing algorithms - Completing algorithms • ConstruCting new algorithms TESTING • integrated Cross-funCtional projeCt: reverse engineering SUPPORTING MATERIALS • list of max/msp objeCts - Commands, attributes, and parameters for speCifiC max/ msp objeCts - glossary from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
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Alessandro Cipriani • Maurizio Gi
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Alessandro Cipriani • Maurizio Gi
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CONTENTS Foreword by David Zicarell
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Electronic Music and Sound Design -
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LEARNING AGENDA 1T PREREQUISITES FO
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1.1 4 Theory sound or sounds that w
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1.1 6 Theory ��
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1.2 8 Theory Let’s look at a tabl
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1.2 10 Theory time (by measuring th
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1.2 12 Theory By the same reasoning
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1.2 14 Theory If the amplitude of a
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1.2 16 Theory 8 140 the threshold o
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1.2 18 Theory 1000 Hz was chosen as
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LEARNING AGENDA 1P PREREQUISITES FO
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1.1 52 Practice Paragraph 1.1 - Fir
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Page 51 and 52: 1.1 66 Practice Paragraph 1.1 - Fir
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Page 55 and 56: Interlude A PROGRAMMING WITH MAX/MS
Page 57 and 58: Interlude A - Programming with Max/
Page 65 and 66: 2T ADDITIVE AND VECTOR SYNTHESIS 2.
Page 67 and 68: Chapter 2T - Additive and vector sy
Page 73 and 74: 2P ADDITIVE AND VECTOR SYNTHESIS 2.
Page 75 and 76: Chapter 2P - Additive and vector sy
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Page 85 and 86: 3.1 296 Theory dB Fig. 3.1 The spec
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Page 89 and 90: 3.2 300 Theory Paragraph 3.2 - Lowp
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Page 93 and 94: 3.1 358 Practice Make sure to try s
Page 95 and 96: 3.1 360 Practice Fig. 3.6 The rand~
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Page 107 and 108: 4.2 474 Theory In the example, the
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Page 119 and 120: 530 multislider, 164, 179 multislid
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programming with max/msp - Virtual Sound

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