thanks man, i'll check this out -
but, for the record, i'm not put off by the maths so much (they are needed to implement, after all :), but i am most interested in practical implementations w/ and explorations of the implications of the techniques - that's my main interest and, like pd itself, augments my learning style. :)
cheers & thx, star
On Thu, 2007-03-15 at 18:04 -0700, Thomas Jeppesen wrote:
Not sure if it's exactly what you are after, but "the computer musical tutorial" by Curtis Roads, takes you through it all in a not too scientific/mathematic way. Actually I think it accompanies PD extremely well.
http://www.amazon.com/Computer-Music-Tutorial-Curtis-Roads/dp/0262680823/ref...
I hope you'll find it useful.
Cheers! Thomas
----- Original Message ----- From: "shift8" shift8@digitrash.com To: "padawan12" padawan12@obiwannabe.co.uk Cc: pd-list@iem.at; "Josh Steiner" josh@vitriolix.com; hard.off@gmail.com Sent: Thursday, March 15, 2007 6:54 AM Subject: Re: [PD] oldschool rave synths
dude - you are a ninja. uhm, i mean, a jedi. seriously - i want to emulate you a bit when i grow up ;P
that said, what resources would you recommend that illustrate calculus as used for signal processing, but from a more functional point of view as opposed to a theoretical one. i know there are dsp chip programming guides for engineering, but there seems to be only "how" and not the "why" in most cases there. too theoretical of descriptions makes it difficult for me to visualize the action or imagine the sonic implications of the theory being discussed.
personally, i find that the application of theories make much more sense than the abstract theories themselves. maybe it's brain damage, or perhaps plain 'ol ignorance.
but anyway, here's a simple example:
someone tells me an empirical definition of the nyquist theory, it's hard to get my head around. but if someone says "hey, you can't sample a frequency that is >= 1/2 of the sample rate, because the wavelength is too short in duration to fit sample boundaries, and it causes distortions that are related to the frequency being sampled." that totally makes sense. i can picture that from a functional point of view, and then have a much easier time with the math an theory of it.
are there any resources, books, etc out that approach the subject of dsp in a style like this?
thanks and high regards, star
On Thu, 2007-03-15 at 15:24 +0000, padawan12 wrote:
[pow~] is from cyclone, I think in the case I used it (pow 2) you can replace it with an equivilent [expr~] expression or [*~]. I thought [lowpass] and [highpass] were vanilla. They are needed to set the coeffs for biquad~
On Wed, 14 Mar 2007 16:49:29 -0800 Josh Steiner josh@vitriolix.com wrote:
i seem to be missing:
lowpass, highpass and pow~
running 0.39.2-extended-test7 on winxp
-josh
padawan12 wrote:
Sorry Hardoff, scratch that last load of rubbish. The parasite synth is the wrong patch, and I thought I was talking about different oscillators, it should have been something more like the ones here. The oscillator is a dual-slope one in hoover-triangles.pd, much easier to pull out than the last mess.
Another take is the hoover-pwm.pd, which is a juno voice basically, it's much brighter and fizzy down low. It just depends what you want more in the low registers, up high theres not so much difference. One is pulse width mod of a square, the other is slope mod of a triangle, both have a bit of frequency lfo on too at about 5 Hz. A fat Juno hoover noise uses the fast chorus so there's one on both versions. Each has the same sequence so you can compare the sounds. All the hoover flavours have a different character, like a highpass resonant filter makes an interesting addition. But what they share in common is a busy sound made by having 3 or 4 detuned components. Juno is a pwm + saw + square mix, with the square an octave down.
On Mon, 12 Mar 2007 22:34:01 +0900 "hard off" hard.off@gmail.com wrote:
andy's tokyo techno one is cool.
but i want hoovers. i keep try to make them and they always suck. there must have been a secret ingredient that i am forgetting.
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