programming with max/msp - Virtual Sound

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Chapter 1T - Introduction to sound synthesis From the psychoacoustic point of view, the intensity of a sound influences the perception of its pitch. Without going into too many details, it suffices to note that above 2,000 Hz, if we increase the intensity of a sound while maintaining fixed frequency, we will perceive that the pitch is rising, while below 1,000 Hz, as intensity increases, there will be a perceived drop in the pitch. On the other hand, frequency also influences our perception of its intensity: the sensitivity of the ear to volume decreases at higher frequencies, increases in the midrange, and decreases greatly at low frequencies. This means that the amplitudes of two sounds must differ, depending on their frequencies, in order to produce the same perceived sensation of intensity. A low sound needs more pressure than is required for a midrange sound to register with the same impact. There is a graphical representation of the varying sensitivity of the ear to different frequencies and sound pressures. In Figure 1.15 we see this diagram, which contains isophonic curves that represent contours of equal loudness. The vertical axis indicates the level of pressure in dB, while the horizontal axis represents frequency. The curves are measured using a unit called a phon 12 and indicate, within the audible frequency range, the sound pressure needed to produce equal impressions of loudness for a listener. 13 Sound Pressure Level (dB SPL) (estimated measurements) (threshold) Fig. 1.15 Diagram of equal loudness contours (ISO 226:2003) 12 The phon is a measure of perceived level of intensity which takes psychoacoustics into account. 1 phon is equal to 1 dB SPL at a frequency of 1000 Hz. 13 The diagram of equal loudness contours is named after H. Fletcher and W.A. Munson, who created the chart used for many years in psychoacoustic experiments all over the world. Recently, this diagram has been refined, and the new measures have been adopted as a standard by the International Organization for Standardization as ISO code 226:2003 (see Fig. 1.15). from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 1T 17
1.2 18 Theory 1000 Hz was chosen as the reference frequency for the phon, because at this frequency, a measurement in phon and one in dB often coincide. (100 dB corresponds to the feeling of 100 phon, 80 dB of 80 phon, etc.) For example, if we examine the 60 phon curve, 60 dB of pressure are necessary at 1000 Hz to produce a certain sensation, but as the pitch drops in frequency, more and more dB are required to maintain the same sensation in the listener. (...) other sections in this chapter: Waveform The sinusoid Other waveforms Bipolar and unipolar waves Logarithmic calculation of pressure sounds in db 1.3 CHANGING FREQUENCY AND AMPLITUDE IN TIME: ENVELOPES AND GLISSANDI Envelopes of acoustic instruments Envelopes of synthetic sounds Glissandi Exponential and logarithmic curves 1.4 THE RELATIONSHIP BETWEEN FREQUENCY AND MUSICAL INTERVAL 1.5 INTRODUCTION TO WORKING WITH SAMPLED SOUND Digitalization of sound 1.6 INTRODUCTION TO PANNING ACTIVITIES • interactive examples TESTING • questions with short answers • listening and analysis SUPPORTING MATERIALS • fundamental concepts • glossary Paragraph 1.2 - Frequency, amplitude, and waveform from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
Page 1 and 2: Alessandro Cipriani • Maurizio Gi
Page 3 and 4: Alessandro Cipriani • Maurizio Gi
Page 5 and 6: CONTENTS Foreword by David Zicarell
Page 7 and 8: Electronic Music and Sound Design -
Page 17 and 18: LEARNING AGENDA 1T PREREQUISITES FO
Page 19 and 20: 1.1 4 Theory sound or sounds that w
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Page 23 and 24: 1.2 8 Theory Let’s look at a tabl
Page 25 and 26: 1.2 10 Theory time (by measuring th
Page 27 and 28: 1.2 12 Theory By the same reasoning
Page 29 and 30: 1.2 14 Theory If the amplitude of a
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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.
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LEARNING AGENDA 3T PREREQUISITES FO
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3.1 296 Theory dB Fig. 3.1 The spec
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3.1 298 Theory Paragraph 3.1 - Soun
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3.2 300 Theory Paragraph 3.2 - Lowp
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LEARNING AGENDA 3P PREREQUISITES FO
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3.1 358 Practice Make sure to try s
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3.1 360 Practice Fig. 3.6 The rand~
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3.2 362 Practice Paragraph 3.2 - Lo
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LEARNING AGENDA IB PREREQUISITES FO
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IB1 424 Practice defined to be the
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IB2 426 Practice From this example,
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LEARNING AGENDA 4T PREREQUISITES FO
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4.2 474 Theory In the example, the
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4P CONTROL SIGNALS 4.1 CONTROL SIGN
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Chapter 4P - Control signals 4.1 CO
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Chapter 4P - Control signals Under
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REFERENCES The decision was made to
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528 constructive interference, 190,
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530 multislider, 164, 179 multislid
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532 switch, 434, 468 T t (see trigg
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