vowel space by Ben Guo

Synthesizes vowel sounds in Max/MSP

http://www.strangelines.com

January 9, 2014June 15, 2014

cataRT tutorial 1-2 instructions

CataRt is a visual granular synthesizer project from IRCAM. These are some instructions to get started. I’m really not sure what its doing, but it reorganizes clips of sound into scatter diagrams that you can play by intersecting with the mouse. It would be interesting to try this program with Mira – but I think its using an external object that Mira doesn’t understand.

download/install

Install latest version of FTM (from IRCAM) that you can find – I installed FTM 2.6.0 beta
Download latest version of cataRT and move it somewhere
add the file path to main folder to max file preferences
The example below is tutorial 1-2 in the tutorials folder

instructions

turn up the volume
click the import maxmsp sequences message
click the find-units-within-pitch message
double click the catart.lcd findtutcorps abstraction (outlined in pink)
move the mouse around in the lcd to play various sounds
try configurations on the right sidebar

January 9, 2014June 24, 2014

Non-blocking audio file read in Puredata

notes

http://puredata.info/downloads/readanysf

Also found these, but development appears to have stopped

threadlib: http://grh.mur.at/software/threadlib.html

sndfile http://grh.mur.at/software/sndfiler.html

Note: Haven’t tested either of these. The discussion on the forums indicates that there are potential unresolved problems.

January 8, 2014June 22, 2014

infinity series by Per Nørgård

From Wikipedia: http://en.wikipedia.org/wiki/Per_Nørgård

Nørgård’s music often features the use of the infinity series (DanishUendelighedsrækken) for serializing melody, harmony, and rhythm in musical composition. The method takes its name from the endlessly self-similar nature of the resulting musical material,^[1] comparable to fractal geometry. Mathematically, the infinity series is an integer sequence. The first few terms of its simplest form are 0, 1, −1, 2, 1, 0, −2, 3, … (sequence A004718 in OEIS).

Nørgård discovered the melodic infinity series in 1959 and it proved an inspiration for many of his works during the 1960s. However, it was not until his Voyage into the Golden Screen for small ensemble (1968)—which has been identified as the first “properly instrumental piece of spectral composition” (Anderson 2000, 14)—and Symphony No. 2 (1970) that it provided the structure for an entire work (Nørgård 1975, 9). The harmonic and rhythmic infinity series were developed in the early 1970s and the three series were first integrated in Nørgård’s Symphony No. 3.