[PD] live input processing patch

[Sean Costello]

Hi:

There is a good interview with Whitman on

http://disquiet.com/hrvatski.html

To get a similar sound, you may want to feed the input into fiddle~, use the
frequency output to drive osc~ (a sine oscillator), and use the amplitude of
that freq component to multiply the output of osc~. Then, run this into four
delread~/delwrite~ pairs, each set for approximately (but not quite) the
same delay time, and feedback for each delread~/delwrite~ pair (see the
example delay.loop.pd, but have 4 of these in parallel). Then granulate
this, ring modulate, spectral processing, what have you. Run everything
through a reverb at the end, to smooth things out and mix everything
together.

Whitman uses fiddle~, so that seems like a good start. The spectral
processing stuff might use the FFTease stuff from Christopher Penrose
(MAX/MPS only), but you could probably do interesting stuff with the FFT
ugens in Pd.

Sean Costello

----- Original Message ----- 
From: "marcus estes" <marcus.e at gmail.com>
To: "PD List" <pd-list at iem.at>
Sent: Monday, February 07, 2005 2:59 PM
Subject: [PD] live input processing patch


> I've been approached by an acoustic instrumentalist to develop a PD patch
> designed to process live input from a microphone. It's not my intention to
> wholly reconstruct the timbre of his instruments; I'm probably more
> interested in time-domain modulation than frequency.
>
> That said, does anyone have any broad suggestions for an interesting
> approach to this
> project? I'm not very fluent in PD's FFT capabilities, so I'm probably
> limited in that aspect by reusing patches from the docs. At the moment,
I'm
> more inclined to think along the lines of a multi-lined delay system, with
> certain time-windows held for looping and slight modulation.
>
> I'm a big fan of the Keith Fullerton Whitman album "Playthroughs," and I
> understand that most of the album was produced by processing guitar sounds
> through Max/MSP patch. I wish that contemporary electronic musicians were
> more willing to publish their patches openly; I'd love to see what he used
> to create those sounds.
>
> I'm also a big fan of Derek Holzer's Particle Chamber patch. By increasing
> the sample playback length to a few seconds, the sounds retain their
timbre
> just enough, while the jittery, polyphonic playback creates a very
> interesting reinterpretation of the source material.
>
> I have considered re-tooling the Particle Chamber for use with a live
input,
> but that seems a bit tricky. Has anyone else tried such a feat? In
general,
> I'd be interested to hear other's ideas and experiences with live input
> patches. If you've already done some work with this, please post your
> patches! I promise not to rip you off too blatantly, or if I do, proper
> accreditation will be given to the living-room-sized audience I have in
mind
> for the piece.
>
> Thanks!
> Marcus
>
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