Tutorials and Topics - Peabody Computer Music

More documents

Recommendations

Info

Tutorial 29Processing:Flangedemonstrating how MIDI can be used for realtime control of audio processingparameters.The different examples stored in the preset object are characterized below.1. Simple thru of the audio input to the audio output. This is just to allow you to test theinput and output.2. The input signal is combined equally with delayed versions of itself, using short(mutually prime) delay times for each channel. The rate of modulation is set for 0.2Hz (one sinusoid every 5 seconds), but the depth of modulation is initially 0. Use themod wheel of your synth (or drag on the “Mod Wheel” number box) to introduce someslow flanging.3. The same as before, but now the modulation rate is 6 Hz. The modulation depth is setvery low for a subtle vibrato effect, but you can increase it to obtain a decidedly unsubtlewide vibrato.4. A faster vibrato, with greater depth, and with the delayed signal fed back into thedelay line, creates a complex warbling flange effect.5. The right channel is delayed a short time for a flange effect and the left channel isdelayed a longer time for an echo effect. Both delay times change sinusoidally over atwo second period, and each delayed signal is fed back into its own delay line (causinga ringing resonance in the right channel and repeated echoes in the left channel).6. Both delay times are set long with considerable feedback to create repeated echoes.The rate (and pitch) of the echoes is changed up and down by a very slow modulatingfrequency—one cycle every 10 seconds.7. A similar effect, but modulated sinusoidally every 2 seconds.8. Similar to example 5, but with flanging occurring at an audio rate of 55 Hz, and nooriginal sound in the mix. The source sound is completely distorted, but themodulation rate gives the distortion its fundamental frequency.SummaryYou can provide a continuously varying delay time to tapout~ by sending a signal in itsinlet. As the delay time varies, the pitch of the delayed sound shifts oppositely. You canuse a repeating low frequency wave to modulate the delay time, achieving either subtle orextreme pitch-variation effects. When a sound with a varying delay time is mixed with theoriginal undelayed sound, the result is a variable comb filtering effect known as flanging.230
Tutorial 29Processing:FlangeThe depth (strength) of the flanging effect depends primarily on the amplitude of thesignal that is modulating the delay time.See Alsonoise~rand~tapin~tapout~White noise generatorBand-limited random signalInput to a delay lineOutput from a delay line231
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:
Page 160 and 161:
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 172 and 173:
Page 174 and 175:
Page 176 and 177:
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 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

Create successful ePaper yourself

Delete template?

Save as template?