programming with max/msp - Virtual Sound

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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). (...) from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 3P 361
3.2 362 Practice Paragraph 3.2 - Lowpass, highpass, bandpass, and bandreject filters other sections in this chapter: 3.2 LOWPASS, HIGHPASS, BANDPASS, AND BANDREJECT FILTERS 3.3 THE Q FACTOR 3.4 FILTER ORDER AND CONNECTION IN SERIES The umenu object First-order filters Second-order filters Higher order filters: in-series connections 3.5 SUBTRACTIVE SYNTHESIS ”Wireless” communications: the pvar object Multiple choices: the radiogroup object Anatomy of a subtractive synthesizer 3.6 EQUATIONS FOR DIGITAL FILTERS Non-recursive, or fir, filters Recursive, or iir, filters 3.7 FILTERS CONNECTED IN PARALLEL, AND GRAPHIC EQUALIZATION Using a parallel filterbank Graphic equalizers 3.8 OTHER APPLICATIONS OF CONNECTION IN SERIES: PARAMETRIC EQ AND SHELVING FILTERS Parametric equalization 3.9 OTHER SOURCES FOR SUBTRACTIVE SYNTHESIS: IMPULSES AND RESONANT BODIES 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 45 and 46: 1.1 60 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
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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 and 90: 3.2 300 Theory Paragraph 3.2 - Lowp
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Page 93 and 94: 3.1 358 Practice Make sure to try s
Page 95: 3.1 360 Practice Fig. 3.6 The rand~
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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
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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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