<div>The style varies. I'm using extended just intonation and all synthesis. I thought of the Csound~ object, but I need to be able to carry my program around to use on several machines, both Windows and OSX. I've had limited success with Csound on my school's Macs (can't install on them) but I don't know, the object might work...
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<div><span class="gmail_quote">On 2/24/06, <b class="gmail_sendername"><a href="mailto:cyborgk@nocturnalnoize.com">cyborgk@nocturnalnoize.com</a></b> <<a href="mailto:cyborgk@nocturnalnoize.com">cyborgk@nocturnalnoize.com
</a>> wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Too bad there's no PERCOLATE for pd any more... Strange cus it is still<br>around for Max, wonder if anybody could ever report it?
<br><br>You could always use something like C-Sound with the pd external, or use<br>OSC to control something like SuperCollider...<br><br>What style is it that your compositions are in?<br><br>!~David<br><br>> I forgot to mention that absolute control of pitch is essential. I need
<br>> to<br>> tell it what frequency the fundamental sounding pitch is. Naturally I<br>> want<br>> complicated waveforms, but FM and (I've just discovered) hardsyncing don't<br>> work...<br>><br>><br>
><br>> On 2/20/06, Christopher Charles <<a href="mailto:schraubzwingenhalterung@web.de">schraubzwingenhalterung@web.de</a>> wrote:<br>>><br>>> 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>>><br>><br>><br>><br>
> --<br>> "It is not when truth is dirty, but when it is shallow, that the lover of<br>> knowledge is reluctant to step into its waters."<br>> -Friedrich Nietzsche, "Thus Spoke Zarathustra"
<br>> _______________________________________________<br>> <a href="mailto:PD-list@iem.at">PD-list@iem.at</a> mailing list<br>> UNSUBSCRIBE and account-management -><br>> <a href="http://lists.puredata.info/listinfo/pd-list">
http://lists.puredata.info/listinfo/pd-list</a><br>><br><br><br><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"