[share] Morph Filter – A new max for live device for live 9. Filtering fun time!
Just finished a new Max for Live device for Ableton Live 9. Introducing the Morph Filter!
It allows you to morph between 5 separate audio filters, each of which can have its own filter type, cutoff frequency, gain and resonance.
It’s kind of like the filter in Ableton’s Sampler instrument, but it has a few extra options and you can drop it on any track you like!
Here’s a brief video of it in action:
I’m planning to release it somewhere soon as I get a website sorted.
I like it, but I think this forum is more for questions about Max for Live, rather than advertising the device you just made.
Here’s a question about your device; Can it morph between formant filters? I think that would be a cool thing to have in M4L. Something like the SugarBytes WOW filter. Before you say it, yes, I would rather have a formant filter that can morph between two different formants as opposed to morphing between 4 in an X-Y format. It’s just simpler that way, and more usable, in my opinion.
well, i disagree. i think the forum is for anything max/cycling 74 related. it was quite a rushed post so apologies if it came across as an advertisement. i’m not looking to profit from this and i’ve attached a copy of the device which anyone can download, use and pick apart. i often come to the cycling forums to see if anyone’s made any new interesting devices or patches, or for examples of code i can learn from. now if anyone searches the forum wondering about a morph filter they have my attempt at one to pick apart, use or question me about.
the device can’t morph between formant filters. i don’t have much experience with formant filters, at least not knowingly, but it sounds like an interesting idea for a device! might have to do a bit of research and check out the SugarBytes WOW filter. i guess if it is 4 formant filters in an x-y format then you could just use the top 2 and control the x parameter to morph. but i’m one of those people who likes having all the options, usually more than is necessary, heh. what about a variable amount of filters and using something like the max nodes object to morph between them? will have to try that out with this device also.
The WOW filter isn’t an X-Y format, but just having the possibility of having a formant filter that acts like the WOW for free would be cool. I rarely have money, so forking over X-amount of dollars for something that I would only use in a couple of songs is pretty stupid of me. I already have Ableton Live 9 Suite, and that came with Max for Live, so getting something like that would be cool. I would do it myself, but I have little to no experience with formants, as well as morphing between to M4L settings without clicks and keeping the same amplitude. (For some reason, [m4l.bal1~] doesn’t work right.)
I was working on a more accurate emulation of a TB-303. I know that it’s been done before, but what I’m shooting for in it is accuracy. After I’m happy with the accuracy of the waveforms, envelopes, etc., I’ll add more features. I’ve already added two more oscillators that are really four instances of [cycle~] at different octaves. In other words, additive oscillators that add in either odd or even harmonics. The harmonics are at set amplitudes, and I can’t really figure out how to keep the amplitude steady when adding them in, but I thought it was a cool idea that really "fills out" the square wave and gives more "punch" to the saw wave. Care to check it out and give me some feedback on it?
I’ve noticed that, since the last two updates, the envelope isn’t ACTUALLY modeling an analog filter that well, but if you could give me any tips on that, it would be much appreciated.
One question I have about my synth, in particular; Sometimes, it sounds like the "square" wave, due to the way I crated it, is one octave away from the saw wave. Is it? I can’t really figure it out, because when I divide the frequency in half or multiply it by 2, it sounds slightly de-tuned in the C0-C1-ish range, and it sounds completely wrong in the C2+ range. I keep thinking it’s an octave away from it, but when I change it, it sounds WAY off. It would make sense to me if it were an octave below it, because one cycle of that square wave is actually equal to two cycles of the saw wave, I think. I’d love it if you could give me some advice here.
P.S. – I know that the filter isn’t very accurate, either, but I can’t really figure out how to make a 3-pole filter. If you could give me some tips on this, also, that would be great.
EDIT: Sorry for writing you a short novel.
EDIT2: I forgot to mention that having a variable amount of filters on the same slider/dial/2D grid would be great, also.
Hey Myr I just wanted to thank you for posting it here, I don’t mind it at all – looking forward to testing out the filter!
Also, I wouldn’t bother with doing a formant filter, mr. Robert Henke has made just about the perfect device:
To say that someone shouldn’t try and make their own to incorporate it into their own device isn’t really in the spirit of Max, don’t you think?
How did you manage the morph between filter types?
fuck it whether this is for sharing or not – MASSIVE thanks to myr! I’ll be getting a LOT of use out of this.
before i started getting into max/MSP & m4l i would have to assign one knob to the main slider in a hydra instrument in renoise, and assign multiple hydras to that, then assign each hydra to the frequency, gain, and Q in a specific ‘node’ in FF pro Q. I would work with around 8 nodes so it got complex.
i’ve still got the renoise file, but i’ll be honest, it took a good day or so to get it right.
this is much much simpler!
>To say that someone shouldn’t try and make their own to incorporate it into their own device isn’t really in the spirit of Max, don’t you think?
Actually what I said was intended to avoid reinvention of wheels. I can tell Myr is on the ball, but if Myr wants to share his/her work then focusing on a project that has already been covered to such a perfect degree by perhaps the most reputable developer for MfL patches would be a shame, in my opinion. Which it is, obviously; an opinion… That’s all.
Glad you checked out my Morph Filter Device, sorry about the messy code. Was quite a quick build and haven’t had time to clean up or comment it yet.
I achieved the filter morphing by using several [filtercoeff~] and one [biquad~] for the actual filtering.
I wanted to morph between five filters so made 5 [filtercoeff~] objects each with controls to change the cutoff, gain, resonance and filtertype.
The [filtercoeff~] object generates 5 signal outputs which are the 5 signal inputs for [biquad~].
I used 5 [scale~] objects, one for each of [biquad~]‘s inputs, to scale between the signal outputs of [filtercoeff~].
I was hoping doing it all at signal rate would make it sound quite smooth and fast. I have another version of the device with built in LFOs. The signal rate LFOs output can go straight into the [scale~] objects which sounds pretty awesome, heh.
@ Wetterberg and Misk
Thanks! Hope you get some use out of it. Sorry the code’s so messy, heh.
Working on a patch and m4l device at the minute called Monome Notes, more flexible and expanded version of Ableton Push melodic functionality. Will be easy to change it to work with Launchpads, APCs or Push’s. Will share this here when I’m finished, or you can check out what I’ve got so far on the monome forums here:
I’ll try and have a look when I’ve finished up some work on a few patches. Was thinking of having a look at a tb-303 at some point so sounds interesting.
>Actually what I said was intended to avoid reinvention of wheels. I can tell Myr is on the ball, but if Myr wants to share his/her work then focusing on a project that has already been covered to such a perfect degree by perhaps the most reputable developer for MfL patches would be a shame, in my opinion. Which it is, obviously; an opinion… That’s all.
I suppose I misinterpreted what you were saying. Reinventing the wheel, so to speak, is something that really should be avoided, in my opinion. However, I have yet to find a morphing formant filter that is like the SugarBytes WOW Filter. It’s a very simple filter and it seems that people take things over-the-top and morph between more than 2 formants on one knob. That’s great knowledge to have and all, but it’s slightly more difficult to morph between just 2. That’s what I wanted out of these filters. I actually made one and posted it on the Max for Live website. It’s bare-basic in simplicity, and doesn’t offer much versatility, but it’s exactly the kind of thing I was looking for, minus a resonance and overdrive control. All it is is a single knob to morph between the "Ah" and "Ee" vowels. Maybe it’s something worth looking at, MYR? If only to get you started on formants. I really haven’t done any research on them. All I did was copy the parameters from Live’s "Eq 8" settings. Specifically, the "Formant" presets.
I’m not that great with Max yet, but everyone’s gotta start somewhere. Don’t you agree? That’s why my devices aren’t all that fantastic. They’re all mostly for learning the basics. I’m trying to figure out how to do an "Auto Music" thing. That’s really hard for me. The idea I have in my head is pretty simplistic: Control a step-sequencer from a certain MIDI note or chord. Hit a kick on beats 1 and 3, and a snare on 2 and 4. My biggest problem is getting M4L to output a bang on each quarter note while synced with Live. I’ll figure it out, I’m sure.
P.S. – When you start working on a TB-303 patch, if you do, would you mind sharing your way of making the square wave? If you use waveshaping, I’d love to be informed on how you did it. I know that the TB-303 doesn’t use a separate oscillator for the square wave, but I don’t know how to use a waveshaper to make a saw into a square. The square wave has been the biggest problem for me, and I’d love some advice.
Sorry about writing the novella, again.
I think sharing is OK, but be honest, this device could make some turnover for your Myr, if you release it as a commercial product!
does this device morph or crossfade between the filter types? (just curious.)
JSS1 : Its interpolate between the coeffs. (I think its morph, not just a simple signal crossfade.)
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