programming with max/msp - Virtual Sound

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2.1 238 Practice Paragraph 2.1 - Fixed spectrum additive synthesis Now we will give phasor~ a frequency higher than 0 Hz; we set it to 5 Hz in the example shown in Figure 2.5. Fig. 2.5 phasor~ set to 5 Hz Build this patch yourself. The phase of the cycle~ object is slaved to the phasor~ object, causing it to oscillate at the same frequency and with the same phase as the phasor~. As you will recall from Section 1.2, phasor~ generates a ramp from 0 to 1, and this ramp, when applied to the phase inlet of cycle~, produces the oscillation. (This explains the motivation behind the name phasor~: one of its main functions is to control the phase of other objects.) As we see in Figure 2.5, every ramp generated by phasor~ results in one complete oscillation of cycle~, which is running at 5 Hz in this example. If we were to eliminate the phasor~ and give cycle~ a frequency of 5 Hz by sending it a message on its inlet, or by providing an argument, we would obtain an identical oscillation. In other words, cycle~ behaves as though it has an “internal phasor”. Such an “internal phasor”, interestingly, is lacking in the triangle~ object (encountered in Section 1.2), which can only oscillate when controlled by an external phasor~. Yet in the case of the triangle~ object, we still speak about its phase (or index), thinking of this as the indexed absolute position within the waveform cycle (see Section 2.1T). And triangle~ is not alone; we will see shortly another important example of an object that produces oscillations when connected to a phasor~. One might ask what would happen if the cycle~ object in Figure 2.5 were to have its own frequency in addition to the frequency being provided by phasor~? The answer is: nothing particularly interesting. The two frequency values (that of the cycle~ and that of the phasor~) are simply summed. Try this, by giving an argument of 440 to cycle~, for example, and then setting the frequency of phasor~ to 220 Hz. The result will be a (co)sine wave with a frequency of 660 Hz. (...) from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
Chapter 2P - Additive and vector synthesis 2P other sections in this chapter: Using wavetables with oscillators Fixed non-harmonic spectra 2.2 BEATS Rhythmic beats Beats of the harmonic components 2.3 CROSSFADING BETWEEN WAVETABLES: VECTOR SYNTHESIS 2.4 VARIABLE SPECTRUM ADDITIVE SYNTHESIS Working with component envelopes using a user interface Working with envelopes of single components using text descriptions Using oscillator banks Converting milliseconds to samples, and vice versa Variable spectra and oscillator banks Using masking for control ACTIVITIES • CorreCting algorithms • Completing algorithms • replaCing parts of algorithms • analyzing algorithms TESTING • integrated Cross-funCtional projeCt: reverse engineering • integrated Cross-funCtional projeCt: Composing a brief sound study SUPPORTING MATERIALS • list of prinCipal max/msp Commands • 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 239
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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
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 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 77 and 78: Chapter 2P - Additive and vector sy
Page 79: 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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programming with max/msp - Virtual Sound

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