programming with max/msp - Virtual Sound

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4.1 494 Practice In this patch, the line~ object has been replaced by the vs.kscale~ object, and a cycle~ object has been connected to it. As you know, the vs.kscale~ object takes four arguments, the first two specifying the range of the input signal, and the last two specifying the desired range of the output signal. In our case, the arguments [-1 1 0 1] indicate that we will be feeding the object an input signal that ranges from -1 to 1, and that we want to rescale this input to fit a signal that ranges from 0 to 1. The cycle~ object itself is set to generate a control signal of 1 Hz, which will make the sound travel from the left to the right and back again over the period of one second; by connecting a float number box to the cycle~ object, you can change the oscillation frequency. Try the patch with various frequencies, but stay below 20 Hz; higher frequencies will generate interesting audible modulation anomalies that we will take up in Chapter 10. At this point, you can simplify the patch by using the vs.pan~ object from the Virtual Sound Macros library, an object that implements a stereo panning algorithm; the object takes the sound to be positioned on its left inlet, and the positioning control signal on its right inlet. (See Figure 4.3 for the simplified patch.) Fig. 4.3 Stereo panning using the vs.pan~ object You can see that the vs.pan~ object performs the same function as the algorithm in Figure 4.1. We are using it simply to free up room in the graphical display of our patch. Try this patch, substituting control signals made with other waveforms, such as the square wave shown in Figure 4.4. Fig. 4.4 Controlling panning with a square wave LFO Paragraph 4.1 - Control signals: stereo panning from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
Chapter 4P - Control signals Under the control of a square wave, the sound moves from channel to channel without passing through intermediate positions. The sudden discontinuity, however, generates an undesirable click in the output signal. Fortunately, this can be eliminated by filtering the control signal with a lowpass filter, which smooths the sharp corners of the square wave. (See Figure 4.5 for this modification.) Fig. 4.5 Filtering an LFO In this patch, we have set a cutoff frequency of 20 Hz, which means that the control signal can’t jump from one value to the other faster than 20 times a second. Try changing the cutoff frequency for the filter to better understand how it influences the path of the sound; the lower the cutoff frequency, the smoother the transitions between channels will be. (...) other sections in this chapter: 4.2 DC OFFSET 4.3 CONTROL SIGNALS FOR FREQUENCY Simulating a theremin 4.4 CONTROL SIGNALS FOR AMPLITUDE 4.5 MODULATION OF THE DUTY CYCLE (PULSE WIDTH MODULATION) 4.6 CONTROL SIGNALS FOR FILTERS 4.7 OTHER GENERATORS OF CONTROL SIGNALS The modulation matrix 4.8 CONTROL SIGNALS: MULTI-CHANNEL PANNING from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 4P 495
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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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1.2 68 Practice Paragraph 1.2 - Fre
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Interlude A PROGRAMMING WITH MAX/MS
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Interlude A - Programming with Max/
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Interlude A - Programming with Max/
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Page 65 and 66: 2T ADDITIVE AND VECTOR SYNTHESIS 2.
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programming with max/msp - Virtual Sound

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