programming with max/msp - Virtual Sound

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Chapter 1P - Sound synthesis with Max/MSP 1P other sections in this chapter: 1.2 FREQUENCY, AMPLITUDE, AND WAVEFORM Band limited generators 1.3 VARIATIONS OF FREQUENCY AND AMPLITUDE IN TIME: ENVELOPES AND GLISSANDI Envelopes Presentation mode Exponential and logarithmic curves 1.4 THE RELATIONSHIP OF FREQUENCIES TO MUSICAL INTERVALS AND OF AMPLITUDES TO SOUND PRESSURE LEVELS Natural glissandi Decibel to amplitude conversion Providing information for users 1.5 INTRODUCTION TO WORKING WITH SAMPLED SOUND Managing files with the file browser Recording an audio file Recording a sound from a memory buffer 1.6 INTRODUCTION TO PANNING 1.7 SOME MAX/MSP BASICS Black or yellow-and-black patch cords? Max vs. Msp Order of execution in Max The panel object and background levels ACTIVITIES • suBstituting parts of algorithms • correcting algorithms • completing algorithms • analyzing algorithms • constructing new algorithms TESTING • integrated cross-functional project: reverse engineering SUPPORTING MATERIALS • list of principal max/msp commands • list of max/msp oBjects used in this chapter • commands, attriButes, and parameters for some max/msp oBjects used in this chapter • glossary of terms used in this chapter from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 69
Interlude A PROGRAMMING WITH MAX/MSP IA.1 MAX AND THE NUMBERS: THE BINARY OPERATORS IA.2 GENERATING RANDOM NUMBERS IA.3 MANAGING TIME: THE METRO OBJECT IA.4 SUBPATCHES AND ABSTRACTIONS IA.5 OTHER RANDOM NUMBER GENERATORS IA.6 MESSAGE ORDERING WITH TRIGGER IA.7 OBJECTS FOR MANAGING LISTS IA.8 THE MESSAGE BOX AND VARIABLE ARGUMENTS IA.9 SENDING SEQUENCES OF BANGS: THE UZI OBJECT IA.10 SEND AND RECEIVE from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved PROGRAMMING WITH MAX/MSP �
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
Page 21 and 22: 1.1 6 Theory ��
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
Page 31 and 32: 1.2 16 Theory 8 140 the threshold o
Page 33 and 34: 1.2 18 Theory 1000 Hz was chosen as
Page 35 and 36: LEARNING AGENDA 1P PREREQUISITES FO
Page 37 and 38: 1.1 52 Practice Paragraph 1.1 - Fir
Page 53: 1.2 68 Practice Paragraph 1.2 - Fre
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
Page 83 and 84: LEARNING AGENDA 3T PREREQUISITES FO
Page 85 and 86: 3.1 296 Theory dB Fig. 3.1 The spec
Page 87 and 88: 3.1 298 Theory Paragraph 3.1 - Soun
Page 89 and 90: 3.2 300 Theory Paragraph 3.2 - Lowp
Page 91 and 92: LEARNING AGENDA 3P PREREQUISITES FO
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~
Page 97 and 98: 3.2 362 Practice Paragraph 3.2 - Lo
Page 99 and 100: LEARNING AGENDA IB PREREQUISITES FO
Page 101 and 102: IB1 424 Practice defined to be the
Page 103 and 104: IB2 426 Practice From this example,
Page 105 and 106:
LEARNING AGENDA 4T PREREQUISITES FO
Page 107 and 108:
4.2 474 Theory In the example, the
Page 109 and 110:
4P CONTROL SIGNALS 4.1 CONTROL SIGN
Page 111 and 112:
Chapter 4P - Control signals 4.1 CO
Page 113 and 114:
Chapter 4P - Control signals Under
Page 115 and 116:
REFERENCES The decision was made to
Page 117 and 118:
528 constructive interference, 190,
Page 119 and 120:
530 multislider, 164, 179 multislid
Page 121 and 122:
532 switch, 434, 468 T t (see trigg
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