Hello João Pais,
exactly I'm looking for help to get on a track to understand the situation for such approach in the world of sound technologies. I noticed programmers use these tricks in they patches to get some predictable or in-range randomization. I'm not quit sure about formulation of question, because I was using commercial sound sequencing software, VST's and etc. The opportunities of pd strongly impressed me so I fought to use it in research I'm writing.
It's simple to use values of env~ and apply to control limiters, delays and etc. What I expect to figure out is technological aspects and theoretical approach. That's besides programming a patch, but I couldn't hold my self to try. I saw people discussing various topics (off programming) on list and did it my way. Nobody understood me on pd~forum as well, so now I'm sure a revision and clarification is necessary for the direction of my work
Thank you very much. G
2009/11/9 João Pais jmmmpais@googlemail.com:
Hi,
the idea sounds simple to do. What kind of feedback from the list are you asking exactly?
I guess that besides programming the patch, on a real world situation you must be careful with the feedback of the speakers, so that the feedback doesn't end up triggering the feedback itself. Maybe a clamp microphone attached to the instrument (which kind of saxophone?) would be the better choice. Although if the hall is big enough, a normal mic should also work.
João Pais
Hello,
I'm making a diploma work and need help from community like this to assure that my work is related to science or is a part of it, even if it (what I did) just a small improvement on the other hand. There is no information about it in my native language, so sometimes I get confused about what I'm looking for, because many things are interesting to me and the field is getting wider and more confusing.
I have tried many delay effect patches and found one made by Maelstorm on pd-forum. I upgraded it to stereo, mounted into structure I needed and something I call an improvement. This delay processor does something what I think might be considered as humanized behavior. It takes audio of the musician (Saxophone) and creates an echo effect (tap function included), but output of the echo signal is controlled by the previous amount of volume (vu) of the input. You can set a feedback at the maximum amount, but if there is no input signal at that time from the instrument, than echo goes down (gradually or fast) as well. It sounds pleasant because there is another parameter that appeared during the construction process, an interpolation time or sensitivity how fast it follow the input ([line]) . So the amount of echo volume can't exceed the the amount of dry signal, what I take as an aesthetic value in a live performance (tested).
Any pd user know how simple it is to make it using this software, but I couldn't find anybody did or mentioned about delay controlled by the signal witch has a human or instrument property (amplitude applied as control). I work with DAW's like Cubase and know that there is no delay like that.
I want to ask if the community has an opinion about my idea, taking all possible aspects that comes to his mind. I think there is no better place as this to give such questions and use it's answers as vector to continue research. In the community I am now there are no students or lecturers that use pd and any other interesting things that it offer. So at least truth has to come out of my research.
Thank you.
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