Other modern uses of granular synthesis – duration and pitch shifting, etc.ĭownload granular synthesis examples from class Practical approaches using Max/MSP for real-time use With this object, you can take a pre-existing patch, add a few extra objects to, load it into the poly object, and specify how many voices you.
Generating random control over parameters After making a patch that does something interesting, the next logical step is to figure out a way to do the same basic process many times, simultaneously. Mid-term Projects due (2-3 minute composition) / presented in class Mid Term Projects – short performance or composition Using Synthesis Techniques in composition/performance Risset: “Digital Techniques and Sound Structure in Music”īegin working on Mid-Term Project ( short performance or composition)Īdvanced Modulation and Distortion TechniquesĪdditional Paramters: Vibrato, frequency and amplitude envelopes Multiple Carrier/Modulator configurations Project 2: Additive Bell instrument (a la Risset) dueīessell Functions and other inner-sanctum stuff Project 2: Additive Bell instrument (a la Risset) Using tables as raw data for envelope informationĭodge: “Synthesis using Distortion Techniques” Max/MSP provides ways to make synthesis system in ab-stractions directly in the Max graphical langage.
BUFFER BASED ENHANCED GRAIN GENERATOR Our rst need was to have a exible granular synthesis engine which would be efcient and highly congurable. Project 1: Building a simple patch – Wavetable Instrument dueĪdditive Synthesis – adding additional parameters Max/MSP DSP objects we will present in the next sec-tions. Project 1: Building a simple patch – Wavetable Instrument Generating time-variable functions (envelopes)Īdditive Synthesis – implementing a basic audio synthesis strategyĬontrol parameter linking and interdependencies (Decker out of town – Robb Drinkwater sub.) Introduction to the inner life of the Max/MSP Audio Objects Max/Msp patch using digital filters C 1 0 contributions in the last year Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sun Mon Tue Wed Thu Fri Sat. Pitch – Physical and Psychoacoustic parameters/perceptionĪmplitude – Physical and Psychoacoustic parameters/perception granular synthesis patch in max/msp 1 digitalFilter. Introduction/Review of Physical Acousticsīackus, “The Ear: Intensity and Loudness Levels”
For me, there seems to be an issue with the bottom (parameter) value in the Max Api devices when following these steps. Map the Max device to any parameter in the Live device. To recreate the temporal evolution of wind with varying strength andĭiscussions about features and issues takes place on the Forum discussion groups (opens new window), accessible from the respective CataRT Forum projects (opens new window).Below is a ROUGH syllabus for the class (subject to change once we are underway and I have a better sense of the learning speed / background / needs of the class members):Ĭlass Overview – syllabus, reading, assignments, etc.īackus, “Complex Vibrations and Resonance” Load the 'Max Api DeviceParam' on behind it.
Here, several recordings of wind are used in the This video from 2010 shows how various sounds (train and voice recordings) are imported and browsed by timbre in CataRT classic (opens new window): When paired with a reverb or delay this allows the user to make crystal like fragments which ping like glass or ice. The range of the sample and the size of the grains can be adjusted. Of historical interest is the original CataRT classic (opens new window) from 2005, a modular patch system for Max/MSP with the FTM&Co. The plugin has its roots in granular synthesis and allows the user to load in a sample and play it back within specified grains.
SKataRT (opens new window) Max4Live device for Ableton Live, on the Ircam Forum.CataRT-MuBu (opens new window), patches for Max using objects from the MuBu library, and descriptor analysis via the PiPo framework.The current CataRT comes in three flavours: set of state-of-the-art audio processing tools integrated with Max/MSP that include. This can be seen as a content-based extension to granular synthesis providing direct access to specific sound characteristics.įor instance, this allows to create expressive textural evolution using perceptual timbre descriptors, control of output grains by similarity to audio input ( audio mosaicing or beat replacement), or juxtaposition of sounds from varying sources by timbral features. The ZsaZsa synthesis engine has a slightly extended set of granular. The concatenative real-time sound synthesis system CataRT plays grains from a large corpus of segmented and descriptor-analysed sounds according to proximity to a target position in the descriptor space.