programming with max/msp - Virtual Sound

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2.1 188 Theory Paragraph 2.1 - Fixed spectrum additive synthesis In Figure 2.2, we see the same complex sound broken into frequency components. Four distinct sine waves, when their frequencies and amplitudes are summed, constitute the complex sound shown in the preceding figure. amp amp amp amp Fig.2.2 Decomposition of a complex sound into sinusoidal components A clearer way to show a “snapshot” of a collection of frequencies and amplitudes such as this might be to use a graph in which the amplitude of the components is shown as a function of frequency, an approach known as frequency domain representation. Using this approach, the x-axis represents frequency values, while the y-axis represents amplitude. Figure 2.2b shows our example in this format: a graph displaying peak amplitudes for each component present in the signal. amplitude �� Fig. 2.2b A sound spectrum � �� time in msec �� frequency in Hz �� from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved �� + + + ��
Chapter 2T - Additive and vector synthesis In order to see the evolution of components over time, we can use a graph called a sonogram (which is also sometimes called a spectrogram), in which frequencies are shown on the y-axis and time is shown on the x-axis (as demonstrated in Figure 2.2c). The lines corresponding to frequency components become darker or lighter as their amplitude changes in intensity. In this particular example, there are only four lines, since it is a sound with a simple fixed spectrum. frequency in Hz 1200 900 600 300 time Fig. 2.2c A sonogram (also called a spectrogram) Now we will consider a process in which, instead of decomposing a complex sound into sine waves, we aim to do the opposite: to fashion a complex sound out of a set of sine waves. This technique, which should in theory enable us to create any waveform at all by building up a sum of sine waves, is called additive synthesis, and is shown in diagrammatic form in Figure 2.3. Fig. 2.3 A sum of signals output by sine wave oscillators In Figure 2.4, two waves, A and B, and their sum, C, are shown in the time domain. from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 2T 189
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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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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 and 54: 1.2 68 Practice Paragraph 1.2 - Fre
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: Chapter 2T - Additive and vector sy
Page 71 and 72: 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 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 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,
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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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