programming with max/msp - Virtual Sound

Chapter 3P - Noise generators, filters, and subtractive synthesis
this object is divided into bands in the same way as that of rand~ was in Figure
3.7, but as you can see in Figure 3.8, the attenuation of the secondary bands is
much less because of the abrupt changes between sample values.
Fig. 3.8 The vs.rand0~ object
In the Virtual Sound Macros library, we also have provided a noise generator
that uses cubic interpolation called vs.rand3~ (as shown in Figure 3.9).
Fig. 3.9 The vs.rand3~ object
Thanks to the polynomial interpolation in this object, the transitions between
one sample and the next appear smooth, as you can see on the oscilloscope.
The transitions form a curve rather than a series of connected line segments,
and the resulting effect is a strong attenuation of the secondary bands. Recreate
the patches found in figures 3.6 to 3.9 in order to experiment with various noise
generators.
“Classic” oscillators – those that produce sawtooth waves, square waves, and
triangle waves – are another source of sounds that are rich in components,
which makes them effective for use with filters. In Section 1.2, we examined
three band-limited oscillators that generate these waves: saw~, rect~, and
tri~. We will use these oscillators frequently in the course of this chapter. In
Section 3.1T, we also learned about the possibility of filtering sampled sounds.
For this reason, we will also give examples in this chapter of filtering sampled
sounds, using the sfplay~ object (first introduced in Section 1.5P).
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from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri
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