An Interview with Natasha Barrett of DR.OX
Some of us listen to many different types of music and are open to experimentation but, correct me if I'm wrong, sometimes the music that comes out of academic circles can be cold and dry. DR.OX is a welcome change. I had the pleasure of interviewing one half of DR.OX, Natasha Barrett, and I found her focused, enlightened and outspoken.
The Phase Vocoder – Part II
In our last article about the phase vocoder we saw how to create a basic phase vocoder for time-stretching. While it is by no means a simple MSP patch, it is a useful one. In addition to time-stretching, the phase vocoder has been used for transposition and "freeze" effects, which we will be discussing in this article.
Managing Complex Patches in Max
One of the beauties of Max is its simplicity: the ability to quickly create a patch that does something artistically interesting. Part of this has to do with its visual programming style - patchcords allow us to see the relationship between graphic objects. However, unless you limit yourself to creating only straightforward patches, your patch can become a spaghetti-like series of connections that confound attempts at debugging. Please note: This article was written for Max 4.6 originally
An Interview With Tim Place
In this interview, Tim Place speaks about his work as a developer and artist, charting the numerous development projects which pooled together to create Hipno.
The Phase Vocoder – Part I
The phase vocoder is a tool used to perform time-stretching and pitch-shifting on recorded sounds. Its name derives from the early "vocoders" (contraction from "voice encoders"), which used a set of bandpass filters in parallel over many frequency bands, to crudely analyze and reconstruct speech. In this article, Richard Dudas and Cort Lippe explain the workings of a phase-vocoder as well as how to construct and modify one in Max/MSP.
just ducky, thanks
I was commiserating with my friend and colleague R. on the phone this week about the difficulty of laying intelligeable voice over a huge, thick, turgid bed of audio oatmeal, courtesy of an unnamed artist who provides some incidental music. R. was interested in looking into spectral ducking as a way to solve his problem.