Tutorials and Topics - Peabody Computer Music

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Audio I/OAudio input andoutput with MSPIf you are not doing anything where precise synchronization between the control andaudio is important, leave Scheduler in Audio Interrupt unchecked. You’ll get a bit moreoverall CPU performance for signal processingThe pop-up menus labeled Input Channel 1, Input Channel 2, Output Channel 1, andOutput Channel 2 allow you to map the first two logical channels of I/O in MSP (i.e. thefirst two outlets of the adc~ object and the first two inlets of the dac~ object) to physicalchannels used by your audiodriver. Different audio drivers give you different options, forexample, the MME driver on Windows only supports two channels, so you will normallyuse the default options. To map additional logical channels, use the I/O Mappingswindow, which you can view by clicking the I/O Mappings button at the bottom of theDSP Status window (see below for more information about the I/O Mappings window).In addition, you can use the adstatus object from within your patch to map any of the 512logical audio I/O channels.The Optimize pop-up menu is found only on the Macintosh version of MSP. It allows youto select whether G4 (Altivec) vector optimization will be used by MSP when computingaudio. Vector optimization allows four samples to be processed within the space of asingle instruction. However, not all audio signal processing algorithms can be optimizedin this way (for example, recursive filter algorithms are substantially immune from vectoroptimization). Leaving this option on when using MSP on a G4 machine will enhanceCPU utilization and performance, although the exact performance gain depends on thealgorithm you are using and the number of MSP objects that implement it that have beenvector-optimized. If you are using a pre-G4 Macintosh turning the option on will have noeffect.The CPU Limit option allows you to set a limit (expressed in terms of a percentage ofyour computer's CPU) to how much signal processing MSP is allowed to do. MSP will notgo above the set CPU limit for a sustained period, allowing your computer to perform42
Audio I/OAudio input andoutput with MSPother tasks without MSP locking them out. The trade-off, however, is that you'll hearclicks in the audio output when the CPU goes over the specified limit. Setting this valueto either ‘0’ or ‘100’ will disable CPU limiting.About Logical Input and Output ChannelsIn MSP 2, you can create a dac~ or adc~ object that uses a channel number between 1 and512. These numbers refer to what we call logical channels and can be dynamicallyreassigned to physical device channels of a particular driver using either the DSP Statuswindow, its I/O Mappings subwindow, or an adstatus object with an input or outputkeyword argument.The adc~ and dac~ objects allow you to specify arguments which define which logicalchannels are mapped to their inlets and outlets, respectively. In the example below,multiple logical channels are in use in a simple patch:In this example, two separate adc~ objects output audio signals from logical channel pairs1/2 and 3/4, respectively. The output of all four channels is sent to gain~ objects whichattenuate the incoming signals and send them to the first four logical output channels, asspecified by the first dac~ object. The input signals are also multiplied (ring modulated)and sent out logical channels 9 and 10. Up to sixteen arguments can be typed into a singleadc~ or dac~ object; if you want to use more than 16 logical channels, you can usemultiple adc~ and dac~ objects. The ezadc~ and ezdac~ objects only access the first twological input and output channels in MSP.The purpose of having both logical channels and physical device channels is to allow youto create patches that use as many channels as you need without regard to the particularhardware configuration you're using. For instance, some audio interfaces use physicaldevice channels 1 and 2 for S/ PDIF input and output. If you don't happen to have aS/PDIF-compatible audio interface, you may wish to use channels 8 and 9 instead. With43
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
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Page 29 and 30: How Digital Audio WorksManipulating
Page 31 and 32: How MSP WorksMax patches and theMSP
Page 37 and 38: Audio I/OAudio input andoutput with
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Page 59 and 60: Tutorial 1Fundamentals:Test toneWav
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Page 63 and 64: Tutorial 2Fundamentals:Adjustable o
Page 69 and 70: Tutorial 3Fundamentals:Wavetable os
Page 75 and 76: Tutorial 4Fundamentals:Routing sign
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Tutorial 5Fundamentals:Turning sign
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Tutorial 6A review of fundamentals1
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Tutorial 6A review of fundamentalsW
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Tutorial 6A review of fundamentalsS
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Tutorial 7Synthesis:Additive synthe
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Tutorial 7Synthesis:Additive synthe
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Multiplying signalsTutorial 8: Synt
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Tutorial 8Synthesis:Tremolo and rin
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Tutorial 9: Synthesis—Amplitude m
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Tutorial 9Synthesis:Amplitude modul
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Tutorial 10: Synthesis—Vibrato an
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Elements of FM synthesisTutorial 11
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Tutorial 11Synthesis:Frequency modu
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Tutorial 11Synthesis:Frequency modu
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Tutorial 12Synthesis:WaveshapingThe
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Tutorial 12Synthesis:Waveshaping•
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Sound input: adc~Tutorial 13: Sampl
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Tutorial 13Sampling:Recording and p
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Tutorial 13Sampling:Recording and p
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Playing samples with groove~Tutoria
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Tutorial 14Sampling:Playback with l
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Tutorial 15Sampling:Variable-length
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Tutorial 16Sampling:Record and play
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Tutorial 16Sampling:Record and play
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Tutorial 17Sampling reviewThe compu
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Tutorial 17Sampling reviewThe keyst
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Tutorial 18: MIDI control—Mapping
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Tutorial 18MIDI Control:Mapping MID
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Tutorial 18MIDI Control:Mapping MID
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Implementing standard MIDI messages
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Tutorial 19MIDI Control:Synthesizer
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Tutorial 20: MIDI control—Sampler
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Tutorial 20MIDI Control:SamplerThis
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Tutorial 20MIDI Control:SamplerNote
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Tutorial 20MIDI Control:SamplerSumm
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Tutorial 21MIDI Control:Using the p
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Panning for localization and distan
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Tutorial 22MIDI Control:PanningIn c
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Tutorial 22MIDI Control:PanningTher
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Tutorial 22MIDI Control:Panning•
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Tutorial 23Analysis:Viewing signal
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Tutorial 24: Analysis—Oscilloscop
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Tutorial 24Analysis:Oscilloscopedif
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Tutorial 25Analysis:Using the FFTAl
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Tutorial 25Analysis:Using the FFTIt
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Tutorial 25Analysis:Using the FFTAs
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Tutorial 26Frequency domain signalp
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Effects achieved with delayed signa
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Tutorial 27Processing:Delay linesEq
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Tutorial 28Processing:Delay lines w
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Tutorial 28Processing:Delay lines w
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Tutorial 29Processing:FlangeWhile t
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Tutorial 29Processing:Flangedemonst
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Tutorial 30: Processing—ChorusThe
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Tutorial 30Processing:ChorusMultipl
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Tutorial 31: Processing—Comb filt
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Tutorial 31Processing:Comb filterTh
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Tutorial 31Processing:Comb filterco
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The dsp objectControlling and autom
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Indexfeedback in a delay line......
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Index246
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