If Chuck is on Linux, hopefully that will be helpful for him!!! But it's not cross-platform (I'm still on Windoze).
For me in the present - looks like I have to stick with Max/Jitter to run Percolate. Question: If I did get Linux going, and I'm using Demudi/Ubuntu, I have to compile Percolate myself right, cus it's a different distribution? How hard would that be? Having those sounds would make PD definitely more attractive for synthesis, I actually lately was using it with GEM for visuals. and not for audio, because of some of the limitations involved in having only low-level building blocks. I'd kill for some externals/abstractions that have anti-aliased, analog sounding square and sawtooth waves, for instance... Anyway, I still like PD enough I'll probably run other things like Reaktor and Max/Jitter using OSC. Cus PD is elegant. And with GriPD I think it will be nice for interface design.
PS. Yes, I do plan to fix my laptop to dual-boot to both Windoze (sorry some software is too good to give up, unless I get a Mac), but given the complexity of getting Linux running well with all software I need, that's probably not going to happen for 6 months. I will say, the Demudi-Live boots up okay, but I'm not sure how to set up things to get it running beyond that (partition/install/configure for audio). Most instructions out there make assumptions that just don't make sense to a non-Linux user (they skip steps, assume knowledge you don't have, don't explain things in detail). Somebody write some better help documents for this stuff!!!
~David
hey
percolate and more >>> http://ccrma.stanford.edu/planetccrma/software/pdworld.html
regards daniel .
----- Original Message ----- From: cyborgk@nocturnalnoize.com To: "Chuckk Hubbard" badmuthahubbard@gmail.com Subject: Re: [Pd] Other synthesis methods Date: Fri, 24 Feb 2006 10:43:53 -0800 (PST)
Too bad there's no PERCOLATE for pd any more... Strange cus it is still around for Max, wonder if anybody could ever report it?
You could always use something like C-Sound with the pd external, or use OSC to control something like SuperCollider...
What style is it that your compositions are in?
!~David
I forgot to mention that absolute control of pitch is essential. I
need
to tell it what frequency the fundamental sounding pitch is. Naturally I want complicated waveforms, but FM and (I've just discovered) hardsyncing
don't
work...
On 2/20/06, Christopher Charles schraubzwingenhalterung@web.de
wrote:
Chuckk Hubbard wrote:
Hi. My Pure Data Just Intonation sequencing program is up and running,
and
I'm in the process of making music with it for a dance/music
ensemble
at my school. The problem is everyone says it sounds like Mario.
I
tried making a granulator, and it sounded good but used so much CPU
I
couldn't incorporate it into my sequencer. What I do have is 16 harmonics, filtered noise, a bp/lp/hp selector with cutoff and Q control, and adsr sliders. I have 8 copies of
this,
each of which only runs when it is changed, and writes its results
to
a graph, which the sequencer reads. Thus it is also possible to
draw
the waveform with the mouse, which I've found can make it a little less predictable. But too much of that makes it inharmonic, and
even
so it still sounds very 80's. I'd like the freedom to work in more sophisticated synthesis. What can I do?
there are various other ways to shape synthetic sounds, particularly
as
a part in a subtractive synth: have a look at frequency modulation, amplitude/ring modulation, oscillator hardsyncing (resetting the
phase
of an oscillator by another oscillator), or pulsewidth modulation.
you
can create very interesting sounds if you gently combine these
methods,
for example feeding a hardsynced oscillator output as a frequency modulator into it's own sync source... something that works good on
more
complex signals than sinewaves is having a signal delayed by a (maybe amplified, dc'd and shaped) form of itself (having the signal as a source for the delay length of a vd~). be sure to check if lfos and (adsr-)envelopes applied in any part of your construction (modulation depths, frequency microtunings, filter cutoffs, pulsewidths, etc.)
can
do any good. with such techniques, your synths won't sound like
mario,
but more like luigi or princess toadstool. another approach might be simple physical modeling: you can create a plucked string which sounds crappy in the bass region but fairly harp-ish in the upper octaves by sending a short, single triangle-
(or
whatever-) shaped impulse into a feedback loop the length of the note frequency^-1. with a slight lowpass applied on each iteration the
signal
will warmly fade out. just ask if you have any questions about implementing these
techniques.
some synthesis links -> http://www.theprojectstudiohandbook.com/articles17.htm
mfg charlie
-- "It is not when truth is dirty, but when it is shallow, that the lover
of
knowledge is reluctant to step into its waters." -Friedrich Nietzsche, "Thus Spoke Zarathustra" _______________________________________________ PD-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
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