programming with max/msp - Virtual Sound

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3P NOISE GENERATORS, FILTERS, AND SUBTRACTIVE SYNTHESIS 3.1 SOUND SOURCES FOR SUBTRACTIVE SYNTHESIS 3.2 LOWPASS, HIGHPASS, BANDPASS, AND BANDREJECT FILTERS 3.3 THE Q FACTOR 3.4 FILTER ORDER AND CONNECTION IN SERIES 3.5 SUBTRACTIVE SYNTHESIS 3.6 EQUATIONS FOR DIGITAL FILTERS 3.7 FILTERS CONNECTED IN PARALLEL, AND GRAPHIC EQUALIZATION 3.8 OTHER APPLICATIONS OF CONNECTION IN SERIES: PARAMETRIC EQ AND SHELVING FILTERS 3.9 OTHER SOURCES FOR SUBTRACTIVE SYNTHESIS: IMPULSES AND RESONANT BODIES from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved NOISE GENERATORS, FILTERS, AND SUBTRACTIVE SYNTHESIS �
LEARNING AGENDA 3P PREREQUISITES FOR THE CHAPTER • Contents of Chapters 1 and 2 (theory and praCtiCe), Chapter 3 (theory), interlude a LEARNING OBJECTIVES SkillS • to learn how to generate and Control different types of Complex signals for subtraCtive synthesis (white noise, pink noise, impulses, etC.) • to learn how to ConstruCt algorithms using lowpass, highpass, bandpass, bandrejeCt, shelving, and resonant filters, and also how to Control them using various parameters, Q, and filter order • to learn how to implement fir (non-reCursive), as well as iir (reCursive), filters • to learn how to build a simple subtraCtive synthesizer • to learn how to write algorithms using filters ConneCted in series and in parallel • to learn how to build graphiC and parametriC eQualizers CompetenCe • to be able to realize a short sound study based on the teChniQues of subtraCtive synthesis, and save it to an audio file. CONTENTS • sourCes for subtraCtive synthesis • lowpass, highpass, bandpass, bandrejeCt, shelving, and resonant filters • the Q faCtor and filter order • finite impulse response and infinite impulse response filters • ConneCting filters in series and in parallel • graphiC and parametriC eQualization ACtiVitieS • replaCing parts of algorithms • CorreCting algorithms • analyzing algorithms • Completing algorithms TESTING • integrated Cross-funCtional projeCt: reverse engineering • integrated Cross-funCtional projeCt: Composing a brief sound study SUPPORTING MATERIALS • list of max/msp objeCts • Commands, attributes, and parameters for speCifiC max/msp objeCts from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
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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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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
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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: 3.2 300 Theory Paragraph 3.2 - Lowp
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,
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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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