I forgot to mention that absolute control of pitch is essential.
I need to tell it what frequency the fundamental sounding pitch
is. Naturally I want complicated waveforms, but FM and (I've just
discovered) hardsyncing don't work...<br>
<br>
<br><br><div><span class="gmail_quote">On 2/20/06, <b class="gmail_sendername">Christopher Charles</b> <<a href="mailto:schraubzwingenhalterung@web.de">schraubzwingenhalterung@web.de</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Chuckk Hubbard wrote:<br>> Hi.<br>> My Pure Data Just Intonation sequencing program is up and running, and<br>> I'm in the process of making music with it for a dance/music ensemble<br>> at my school. The problem is everyone says it sounds like Mario. I
<br>> tried making a granulator, and it sounded good but used so much CPU I<br>> couldn't incorporate it into my sequencer.<br>> What I do have is 16 harmonics, filtered noise, a bp/lp/hp selector<br>> with cutoff and Q control, and adsr sliders. I have 8 copies of this,
<br>> each of which only runs when it is changed, and writes its results to<br>> a graph, which the sequencer reads. Thus it is also possible to draw<br>> the waveform with the mouse, which I've found can make it a little
<br>> less predictable. But too much of that makes it inharmonic, and even<br>> so it still sounds very 80's. I'd like the freedom to work in more<br>> sophisticated synthesis.<br>> What can I do?<br>there are various other ways to shape synthetic sounds, particularly as
<br>a part in a subtractive synth: have a look at frequency modulation,<br>amplitude/ring modulation, oscillator hardsyncing (resetting the phase<br>of an oscillator by another oscillator), or pulsewidth modulation. you<br>
can create very interesting sounds if you gently combine these methods,<br>for example feeding a hardsynced oscillator output as a frequency<br>modulator into it's own sync source... something that works good on more<br>complex signals than sinewaves is having a signal delayed by a (maybe
<br>amplified, dc'd and shaped) form of itself (having the signal as a<br>source for the delay length of a vd~). be sure to check if lfos and<br>(adsr-)envelopes applied in any part of your construction (modulation<br>depths, frequency microtunings, filter cutoffs, pulsewidths, etc.) can
<br>do any good. with such techniques, your synths won't sound like mario,<br>but more like luigi or princess toadstool.<br>another approach might be simple physical modeling: you can create a<br>plucked string which sounds crappy in the bass region but fairly
<br>harp-ish in the upper octaves by sending a short, single triangle- (or<br>whatever-) shaped impulse into a feedback loop the length of the note<br>frequency^-1. with a slight lowpass applied on each iteration the signal
<br>will warmly fade out.<br>just ask if you have any questions about implementing these techniques.<br><br>some synthesis links -><br><a href="http://www.theprojectstudiohandbook.com/articles17.htm">http://www.theprojectstudiohandbook.com/articles17.htm
</a><br><br>mfg<br>charlie<br></blockquote></div><br><br clear="all"><br>-- <br>"It is not when truth is dirty, but when it is shallow, that the lover of knowledge is reluctant to step into its waters."<br>-Friedrich Nietzsche, "Thus Spoke Zarathustra"