Glass Maker
Hey there!
Stealth Maestro here. Now like a lot of junior members here, I'm a student panicking with a relatively last-minute project going on. Now I'm well aware that it's bad form to just come and ask someone to do my homework for me, but I would much appreciate a nice push in the right direction.
The idea is inspired by the clear, pleasant sound one gets when dragging his finger along the edge of a wine glass. I shall set up an array of glasses on a table set up in a midi octave (so twelve in total).
From then I would hang a microphone close to the glasses so the sound can be manipulated and then amplified by a Max Msp Patch. So here's the question
Where should I begin in order to come up with five or six cool settings to take in microphone signal and output a fairly different and interesting sound? I've worked with TEETH, but that's all i could find so far. Any help/push is appreciated. Thanks for reading!
SM
A real quick way to do it would be to download a few creative vst plugins, load them into [vst~ ] et voila.. just go through the presets, no programming at all.
Btw if you manage to pass the test that way I recommend switching to an education such as business management or public relations.
Mattijs
Quote: Stealth Maestro wrote on Tue, 30 October 2007 17:09
----------------------------------------------------
> Hey there!
>
> Stealth Maestro here. Now like a lot of junior members here, I'm a student panicking with a relatively last-minute project going on. Now I'm well aware that it's bad form to just come and ask someone to do my homework for me, but I would much appreciate a nice push in the right direction.
>
> The idea is inspired by the clear, pleasant sound one gets when dragging his finger along the edge of a wine glass. I shall set up an array of glasses on a table set up in a midi octave (so twelve in total).
>
> From then I would hang a microphone close to the glasses so the sound can be manipulated and then amplified by a Max Msp Patch. So here's the question
>
> Where should I begin in order to come up with five or six cool settings to take in microphone signal and output a fairly different and interesting sound? I've worked with TEETH, but that's all i could find so far. Any help/push is appreciated. Thanks for reading!
>
> SM
----------------------------------------------------
Since you are using wine glasses, the output will be
a waveform that will have a very low level of spectral
content. You may not get much of anything interesting
using filtering techniques.
I would experiment with an envelope follower on the
incoming audio signal (from the glass) to create a
control signal (gate). You can then introduce other
sine waves (in Max) that are gated by this control
signal. By changing the pitch add phase of these sine
waves you can create some interesting harmonics and beating
rhythms that would enhance the original input signal.
Anthony
----- Original Message -----
From: Brent Huras
Date: Tuesday, October 30, 2007 11:19 am
Subject: [maxmsp] Glass Maker
>
> Hey there!
>
> Stealth Maestro here. Now like a lot of junior members here, I'm a
> student panicking with a relatively last-minute project going on.
> Now I'm well aware that it's bad form to just come and ask someone
> to do my homework for me, but I would much appreciate a nice push
> in the right direction.
>
> The idea is inspired by the clear, pleasant sound one gets when
> dragging his finger along the edge of a wine glass. I shall set up
> an array of glasses on a table set up in a midi octave (so twelve
> in total).
>
> >From then I would hang a microphone close to the glasses so the
> sound can be manipulated and then amplified by a Max Msp Patch. So
> here's the question
>
> Where should I begin in order to come up with five or six cool
> settings to take in microphone signal and output a fairly different
> and interesting sound? I've worked with TEETH, but that's all i
> could find so far. Any help/push is appreciated. Thanks for reading!
>
> SM
> --
> Love (But Just as Friends),
> Stealth Maestro
>
Also, various distorsions (like FM modulation, amplitude modulation, overdrive, wave wrapper, etc) can add some harmonics to these relatively clean sounds (= with a relatively "poor" spectra).
Besides timbral FXs, you can use time FXs like granulators or rythmic things (at some scales, you may find that rythm and timbre are very closely related)
Here's a perfect Glass generator for you all ready to go...
Oh, you didn't mean Philip Glass...
Quote: peter.mcculloch@gmail.com wrote on Tue, 30 October 2007 22:11
----------------------------------------------------
> Here's a perfect Glass generator for you all ready to go...
>
> max v2;
> #N vpatcher 353 74 716 306;
> #P window setfont "Sans Serif" 36.;
> #P number 78 55 94 36 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P toggle 13 59 43 0;
> #P window setfont "Sans Serif" 9.;
> #P number 284 120 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 284 148 42 196617 pgmout;
> #P number 206 117 64 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #N vpatcher 20 74 630 776;
> #P window setfont "Sans Serif" 9.;
> #P newex 165 137 20 196617 t b;
> #P newex 264 152 20 196617 t b;
> #P newex 321 161 20 196617 t b;
> #P newex 264 128 67 196617 split 40 70;
> #P newex 165 106 54 196617 split 0 40;
> #P newex 300 77 64 196617 random 100;
> #P number 212 555 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P number 54 253 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P number 174 212 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 165 183 27 196617 + 3;
> #P newex 165 161 53 196617 drunk 3 2;
> #P newex 91 312 31 196617 + 10;
> #P number 50 423 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 321 238 40 196617 pow 2.;
> #P newex 321 211 40 196617 / 100.;
> #P newex 321 263 114 196617 scale 0 1. 2000 10000;
> #P newex 321 187 71 196617 drunk 100 20;
> #P newex 112 263 59 196617 drunk 30 4;
> #P newex 300 50 64 196617 metro 5000;
> #P newex 91 370 31 196617 t i b;
> #P newex 91 53 82 196617 tempo 120 1 16;
> #P newex 91 287 31 196617 +;
> #N counter 1 3;
> #X flags 0 0;
> #P newobj 91 221 66 196617 counter 1 3;
> #N vtable 63 20 74 230 241 16 128 glass;
> #T set 0 0 2 4 5 7 9 12 14 16 17 19 21 24 26 28 29 31 33 36 38 40 41
> 43 45 48 50 52 53 55 57 60 62 64 65 67 69 72 74 76 77 79 81 84 86 88
> 89 91 93 96 98 100 101 103 105 108 110 112 113 115 117 120 122 124;
> #P newobj 91 341 58 196617 table glass;
> #P newex 112 556 93 196617 scale 0 100 60 90;
> #P newex 112 529 71 196617 drunk 100 10;
> #P newex 91 584 88 196617 makenote 90 100;
> #P newex 91 627 43 196617 noteout;
> #P inlet 91 18 15 0;
> #P inlet 115 18 15 0;
> #P connect 10 0 17 0;
> #P connect 7 0 22 0;
> #P connect 1 0 9 0;
> #P connect 9 0 7 0;
> #P connect 7 0 8 0;
> #P connect 8 0 18 0;
> #P connect 18 0 6 0;
> #P connect 6 0 10 0;
> #P connect 10 0 3 0;
> #P connect 3 0 2 0;
> #P fasten 3 1 2 1 174 616 112 616;
> #P fasten 28 0 12 0 269 255 117 255;
> #P connect 12 0 8 1;
> #P connect 10 1 4 0;
> #P connect 4 0 5 0;
> #P connect 0 0 9 1;
> #P connect 5 0 3 1;
> #P connect 20 0 7 4;
> #P connect 24 0 25 0;
> #P connect 25 0 29 0;
> #P connect 29 0 19 0;
> #P connect 19 0 20 0;
> #P connect 23 0 3 2;
> #P connect 20 0 21 0;
> #P connect 25 1 26 0;
> #P connect 26 0 28 0;
> #P fasten 1 0 11 0 96 41 305 41;
> #P connect 11 0 24 0;
> #P connect 26 1 27 0;
> #P connect 27 0 13 0;
> #P connect 13 0 15 0;
> #P connect 15 0 16 0;
> #P connect 16 0 14 0;
> #P fasten 14 0 11 1 326 289 444 289 444 40 359 40;
> #P pop;
> #P newobj 172 144 44 196617 p Philly;
> #P toggle 172 117 15 0;
> #P number 78 117 64 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #N vpatcher 20 74 694 838;
> #P window setfont "Sans Serif" 9.;
> #P newex 338 340 48 196617 loadbang;
> #P button 338 365 15 0;
> #P newex 352 449 27 196617 - 1;
> #P newex 352 426 91 196617 t i i;
> #P newex 352 650 42 196617 pack i i;
> #N vtable 63 20 74 230 241 16 128 glass;
> #P newobj 381 676 58 196617 table glass;
> #P newex 433 449 27 196617 - 1;
> #P newex 433 475 27 196617 % 6;
> #P newex 384 575 32 196617 * 12;
> #P newex 384 623 27 196617 +;
> #P newex 384 505 27 196617 / 6;
> #P newex 503 625 21 196617 t 9;
> #P newex 489 607 21 196617 t 7;
> #P newex 475 589 21 196617 t 5;
> #P newex 461 571 21 196617 t 4;
> #P newex 447 553 21 196617 t 2;
> #P newex 433 535 21 196617 t 0;
> #P newex 433 507 97 196617 sel 0 1 2 3 4 5;
> #P newex 338 392 40 196617 Uzi 63;
> #P newex 165 137 20 196617 t b;
> #P newex 264 152 20 196617 t b;
> #P newex 321 161 20 196617 t b;
> #P newex 264 120 60 196617 split 20 60;
> #P newex 165 106 54 196617 split 0 20;
> #P newex 300 77 64 196617 random 100;
> #P number 212 555 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P number 54 253 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P number 174 212 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 165 183 27 196617 + 3;
> #P newex 165 161 58 196617 drunk 4 -2;
> #P newex 91 312 31 196617 + 15;
> #P number 50 423 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 321 238 40 196617 pow 2.;
> #P newex 321 211 40 196617 / 100.;
> #P newex 321 263 114 196617 scale 0 1. 2000 10000;
> #P newex 321 187 71 196617 drunk 100 20;
> #P newex 112 263 59 196617 drunk 30 3;
> #P newex 300 50 64 196617 metro 5000;
> #P newex 91 370 31 196617 t i b;
> #P newex 91 53 82 196617 tempo 120 1 16;
> #P newex 91 287 31 196617 +;
> #N counter 1 3;
> #X flags 0 0;
> #P newobj 91 221 66 196617 counter 1 3;
> #N vtable 63 20 74 230 241 16 128 glass;
> #P newobj 91 341 58 196617 table glass;
> #P newex 112 556 93 196617 scale 0 100 60 90;
> #P newex 112 529 71 196617 drunk 100 10;
> #P newex 91 584 88 196617 makenote 90 100;
> #P newex 91 627 43 196617 noteout;
> #P inlet 91 18 15 0;
> #P inlet 115 18 15 0;
> #P connect 10 0 17 0;
> #P connect 7 0 22 0;
> #P connect 1 0 9 0;
> #P connect 9 0 7 0;
> #P connect 7 0 8 0;
> #P connect 8 0 18 0;
> #P connect 18 0 6 0;
> #P connect 6 0 10 0;
> #P connect 10 0 3 0;
> #P connect 3 0 2 0;
> #P fasten 3 1 2 1 174 616 112 616;
> #P connect 28 0 12 0;
> #P connect 12 0 8 1;
> #P connect 10 1 4 0;
> #P connect 4 0 5 0;
> #P connect 0 0 9 1;
> #P connect 5 0 3 1;
> #P connect 20 0 7 4;
> #P connect 24 0 25 0;
> #P connect 25 0 29 0;
> #P connect 29 0 19 0;
> #P connect 19 0 20 0;
> #P connect 23 0 3 2;
> #P connect 20 0 21 0;
> #P connect 25 1 26 0;
> #P connect 26 0 28 0;
> #P fasten 1 0 11 0 96 41 305 41;
> #P connect 11 0 24 0;
> #P connect 26 1 27 0;
> #P connect 27 0 13 0;
> #P connect 13 0 15 0;
> #P connect 15 0 16 0;
> #P connect 16 0 14 0;
> #P connect 48 0 47 0;
> #P connect 47 0 30 0;
> #P connect 30 2 45 0;
> #P connect 45 0 46 0;
> #P connect 46 0 44 0;
> #P fasten 14 0 11 1 326 289 444 289 444 40 359 40;
> #P connect 44 0 43 0;
> #P connect 42 0 38 0;
> #P connect 38 0 40 0;
> #P connect 40 0 39 0;
> #P connect 39 0 44 1;
> #P connect 37 0 39 1;
> #P connect 36 0 39 1;
> #P connect 35 0 39 1;
> #P connect 34 0 39 1;
> #P connect 33 0 39 1;
> #P connect 32 0 39 1;
> #P connect 45 1 42 0;
> #P connect 42 0 41 0;
> #P connect 41 0 31 0;
> #P connect 31 0 32 0;
> #P connect 31 1 33 0;
> #P connect 31 2 34 0;
> #P connect 31 3 35 0;
> #P connect 31 4 36 0;
> #P connect 31 5 37 0;
> #P pop;
> #P newobj 44 144 44 196617 p Philly;
> #P toggle 44 120 15 0;
> #P comment 139 198 192 196617 ....from the makers of "Horner in a Box";
> #P window setfont "Sans Serif" 18.;
> #P comment 8 9 218 196626 Glass Sounds Generator;
> #P hidden connect 10 0 2 0;
> #P connect 2 0 3 0;
> #P connect 11 0 4 0;
> #P connect 4 0 3 1;
> #P hidden connect 10 0 5 0;
> #P connect 5 0 6 0;
> #P fasten 11 0 7 0 83 111 211 111;
> #P connect 7 0 6 1;
> #P connect 9 0 8 0;
> #P pop;
>
>
> Oh, you didn't mean Philip Glass...
>
>
----------------------------------------------------
nice one....thanks for sharing!!
Hey boys,
Thanks for all your replies - Roald: tell me about this ring modulator? I'm going to get to work with other objects you boys mentioned.
And Peter... that was a lovely "Glass" patch you gave me. I'll treasure it forever haha
SM
Quote: julien breval wrote on Wed, 31 October 2007 05:11
----------------------------------------------------
> Also, various distorsions (like FM modulation, amplitude modulation, overdrive, wave wrapper, etc) can add some harmonics to these relatively clean sounds (= with a relatively "poor" spectra).
>
> Besides timbral FXs, you can use time FXs like granulators or rythmic things (at some scales, you may find that rythm and timbre are very closely related)
>
----------------------------------------------------
And also...
How do i go about doing these "various distortions?" they sound like exactly what I need!
SM
A quick read in any decent computer music text or online tutorial
will give you info on FM, AM, ring modulation, etc. These all fall,
loosely, under the rubric 'distortion synthesis.' Look in Dodge &
Jerse 'Computer Music' and or 'The Computer Music Tutorial' by Roads.
Granular synthesis, etc. are also covered in these sources as well as
Roads' 'Microsound.'
On Oct 31, 2007, at 12:21 PM, Brent Huras wrote:
>
> And also...
>
> How do i go about doing these "various distortions?" they sound
> like exactly what I need!
>
> SM
----
Steven M. Miller
Professor, Contemporary Music Program
College of Santa Fe
Home
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Atrium Sound Space
OVOS
CMP
Yeah, the ring mod is very cool and would work well here. Get some prerecorded wine glass sounds, then try multiplying them by the incoming sound. Usually this sounds pretty distorted (busy spectra) but in this case it would sound pretty cool I think. Once you've multiplied a bit (*~) then things like the filtergraph~ will have more effect. Don't forget waveform~ to mess with things prerecorded and live... and the gizmo~ has lately given me all kinds of new sounds out of even simple drum beats. Try different settings in the pfft~, it ranges from clicky to smeary and everywhere in between, and combinations of fast signal and low pitch, or vice versa, etc etc., have really blown me away with what it can produce.
Have another *~ on the outcoming signal, attached to a cycle~. Instant LFO (or not-so-low). You probably will need to add this to the main signal, not just multiply, because otherwise there will be no output when the *~ is at 0 (and it's good to be able to hear the "clean" signal).
Stick a signal scope and a spectroscope in your patch to see what's coming out and to give some more visual coolness ;) don't forget you can change their color schemes easily, this adds a lot visually.
Sounds interesting, if you post any results I'd like to hear them!
--CJ
Brent Huras schrieb:
> How do i go about doing these "various distortions?" they sound like
> exactly what I need!
Bid on a "Big Muff" on eBay, send your signal through in case you could
afford it...
Get distorted...
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
Roald!
The patch is exactly, exactly what I needed. I'm going to tweak it slightly, but now I have an understanding of what I need to do to get what I want out of this patch.
You are a god among men. I don't know if you're coming to singapore anytime soon, but if you are... drinks are on me!
Cheers,
SM
Julien,
That's just gold bro, I'm working with that info right now. Perhpas you can answer a question for me?
When looking at the cycle~ helpfile, it says that there are 512 samples to chose from but the default is a simple sin~ effect. How can i access the other 511?
Also, are there any other objects similar to phasor, cycle, triangle that i might not know about? Thanks a bunch!
SM
If you need other wave shapes, you can replace [cycle~] by these:
[phasor~] or [saw~]
[triangle~] or [tri~]
[rect~]
[trapezoid~]
Alternatively, you can use you own samples (like in wavetable synthezisers) with [cycle~] but also with [wave~], [2d.wave~] or [groove~].
Finally, you can [*~] any of those signals to get a new wave, like in ring modulation. Indeed, as they all have an output between -1 and 1, the output of the multiplication will also be between -1 and 1.