Tutorials and Topics - Peabody Computer Music

More documents

Recommendations

Info

Tutorial 26Frequency domain signalprocessing using pfft~The amplitude and phase of each frequency bin are the polar coordinates of these points,where the distance from the origin is the bin amplitude and the angle around the origin isthe bin phase:Unit-circle diagram showing the relationship of FFT real and imaginary values toamplitude and phase210
Tutorial 26Frequency domain signalprocessing using pfft~You can easily convert between real/imaginary pairs and amplitude/phase pairs using theobjects cartopol~ and poltocar~:Cartesian to polar conversionTechnical detail: The amplitude values output by the left outlet of cartopol~depend on the amplitude of the signal you send to the pfft~ object. Due tothe way fftin~ and fftout~ automatically scale their window functions (inorder to maintain the same output amplitude after overlap-adding), themaximum amplitude value for a constant signal of 1.0 will be(FFT size / (sqrt(sum of points in the window/hop size))So, when using a 512-point FFT with a square window with an overlap of2, the maximum possible amplitude value will be roughly 362, with 4-overlap it will be 256. When using a hanning or hamming window and 2overlap, it will be approximately 325 or 341, and with 4-overlap, it will be230 or 241, respectively. Generally, however, the peak amplitudes in aspectral frame will most likely be only one-fourth to half this high for nonperiodicor semi-periodic “real-world” sounds normalized between -1.0and 1.0.The phase values output by the right outlet of cartopol~ will always bebetween -π and π.211
Page 1 and 2:
MSPTutorials and TopicsVersion 4.5.
Page 3 and 4:
Table of ContentsCopyright and Trad
Page 5 and 6:
Table of ContentsExercise 3 .......
Page 8 and 9:
Table of ContentsVarying parameters
Page 10 and 11:
IntroductionWith the addition of th
Page 12:
IntroductionThe Max/MSP Examples fo
Page 15 and 16:
How Digital Audio Works• The fluc
Page 17 and 18:
How Digital Audio WorksBecause the
Page 19 and 20:
How Digital Audio Worksthough, the
Page 21 and 22:
How Digital Audio Worksnumbers from
Page 23 and 24:
How Digital Audio Worksthreshold. A
Page 25 and 26:
How Digital Audio WorksIn this case
Page 27 and 28:
How Digital Audio Worksquality”)
Page 29 and 30:
How Digital Audio WorksManipulating
Page 31 and 32:
How MSP WorksMax patches and theMSP
Page 33 and 34:
Page 35 and 36:
Page 37 and 38:
Audio I/OAudio input andoutput with
Page 39 and 40:
Page 41 and 42:
Page 43 and 44:
Page 45 and 46:
Page 47 and 48:
Page 49 and 50:
Page 51 and 52:
Page 53 and 54:
Page 55 and 56:
Page 57 and 58:
Tutorial 1: Fundamentals—Test ton
Page 59 and 60:
Tutorial 1Fundamentals:Test toneWav
Page 61 and 62:
Tutorial 1Fundamentals:Test tonesou
Page 63 and 64:
Tutorial 2Fundamentals:Adjustable o
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Tutorial 3Fundamentals:Wavetable os
Page 71 and 72:
Page 73 and 74:
Page 75 and 76:
Tutorial 4Fundamentals:Routing sign
Page 77 and 78:
Page 79 and 80:
Page 81 and 82:
Page 83:
Page 86 and 87:
Tutorial 5Fundamentals:Turning sign
Page 88 and 89:
Page 90 and 91:
Page 92 and 93:
Page 94 and 95:
Tutorial 6A review of fundamentals1
Page 96 and 97:
Tutorial 6A review of fundamentalsW
Page 98 and 99:
Tutorial 6A review of fundamentalsS
Page 100 and 101:
Tutorial 7Synthesis:Additive synthe
Page 102 and 103:
Tutorial 7Synthesis:Additive synthe
Page 104 and 105:
Multiplying signalsTutorial 8: Synt
Page 106 and 107:
Tutorial 8Synthesis:Tremolo and rin
Page 108 and 109:
Tutorial 9: Synthesis—Amplitude m
Page 110 and 111:
Tutorial 9Synthesis:Amplitude modul
Page 112 and 113:
Tutorial 10: Synthesis—Vibrato an
Page 114 and 115:
Elements of FM synthesisTutorial 11
Page 116 and 117:
Tutorial 11Synthesis:Frequency modu
Page 118 and 119:
Tutorial 11Synthesis:Frequency modu
Page 120 and 121:
Tutorial 12Synthesis:WaveshapingThe
Page 122 and 123:
Tutorial 12Synthesis:Waveshaping•
Page 124 and 125:
Sound input: adc~Tutorial 13: Sampl
Page 126 and 127:
Tutorial 13Sampling:Recording and p
Page 128 and 129:
Tutorial 13Sampling:Recording and p
Page 130 and 131:
Playing samples with groove~Tutoria
Page 132 and 133:
Tutorial 14Sampling:Playback with l
Page 134 and 135:
Tutorial 15Sampling:Variable-length
Page 136 and 137:
Page 138 and 139:
Page 140 and 141:
Tutorial 16Sampling:Record and play
Page 142 and 143:
Tutorial 16Sampling:Record and play
Page 144 and 145:
Tutorial 17Sampling reviewThe compu
Page 146 and 147:
Tutorial 17Sampling reviewThe keyst
Page 148 and 149:
Tutorial 18: MIDI control—Mapping
Page 150 and 151:
Tutorial 18MIDI Control:Mapping MID
Page 152 and 153:
Tutorial 18MIDI Control:Mapping MID
Page 154 and 155:
Implementing standard MIDI messages
Page 156 and 157:
Tutorial 19MIDI Control:Synthesizer
Page 158 and 159:
Tutorial 19MIDI Control:Synthesizer
Page 160 and 161: Tutorial 19MIDI Control:Synthesizer
Page 162 and 163: Tutorial 20: MIDI control—Sampler
Page 164 and 165: Tutorial 20MIDI Control:SamplerThis
Page 166 and 167: Tutorial 20MIDI Control:SamplerNote
Page 168 and 169: Tutorial 20MIDI Control:SamplerSumm
Page 170 and 171: Tutorial 21MIDI Control:Using the p
Page 178 and 179: Panning for localization and distan
Page 180 and 181: Tutorial 22MIDI Control:PanningIn c
Page 182 and 183: Tutorial 22MIDI Control:PanningTher
Page 184 and 185: Tutorial 22MIDI Control:Panning•
Page 186 and 187: Tutorial 23Analysis:Viewing signal
Page 192 and 193: Tutorial 24: Analysis—Oscilloscop
Page 194 and 195: Tutorial 24Analysis:Oscilloscopedif
Page 196 and 197: Tutorial 25Analysis:Using the FFTAl
Page 198 and 199: Tutorial 25Analysis:Using the FFTIt
Page 200 and 201: Tutorial 25Analysis:Using the FFTAs
Page 202 and 203: Tutorial 26Frequency domain signalp
Page 220 and 221: Effects achieved with delayed signa
Page 222 and 223: Tutorial 27Processing:Delay linesEq
Page 224 and 225: Tutorial 28Processing:Delay lines w
Page 226 and 227: Tutorial 28Processing:Delay lines w
Page 228 and 229: Tutorial 29Processing:FlangeWhile t
Page 230 and 231: Tutorial 29Processing:Flangedemonst
Page 232 and 233: Tutorial 30: Processing—ChorusThe
Page 234 and 235: Tutorial 30Processing:ChorusMultipl
Page 236 and 237: Tutorial 31: Processing—Comb filt
Page 238 and 239: Tutorial 31Processing:Comb filterTh
Page 240 and 241: Tutorial 31Processing:Comb filterco
Page 242 and 243: The dsp objectControlling and autom
Page 244 and 245: Indexfeedback in a delay line......
Page 246: Index246
show all

Tutorials and Topics - Peabody Computer Music

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?