Hello,
I've made my first pd instrument. It's a 16 (I think...) op FM patch with selectable wave types run through a voltage controlled filter, with delay and reverb. I created a GUI for it, but I usually control it with a Behringer BCF-2000 midi controller. I find it somewhat useful for abstract tones and texture - can sound pretty rough or subtle depending on how it is set. In any event, I've been playing it for a few weeks now and I've gotten some nice things out of it, disturbance-esque Sachiko M. tone type things.
Required libs: freeverb~ for the reverb section, can easily be disconnected though.
It's available for download at: http://art.sewanee.edu/mccoy/pdpatches/fmbox.zip
Comments and suggestions welcome... Is anyone else doing similar things to this (non-generative instruments/envs for live performance)? I'm looking for more ideas :) I have experimented with adding amplitude envelopes to each of the 4 main sources but it turned a little bit drone-like and feedback sounding for my taste.
Also, if anyone knows, on an optimization note: do send~ and receive~ cause any difference in cpu-time compared to just straight connections?
Kevin
That's wicked fun. It's got loads of sweet spots, I've just been messing with for it for half an hour and had some hilarious and some beautiful sounds from it. You've got a 4 op FM algorithm with fully connected feedback so the range is huge, and I love the extra filtermaina where you're using the operators to modulate the filter too :) That's crazy but, it sounds brilliant on slow waves!
Personally I'd drop the freeverb. Lot's of people seem to put a reverb on their synths then get to see it's really best without it. Reverb is nearly always global effect in most cases, unless you're Phil Collins and want your drumkit to sound like each drum is in a different room. If the synth is washed in reverb too much I think you lose the focus of the sound, the sound becomes all about the reverb and not about the synth, so you lose control because you cant really hear it anymore as you twiddle the controls.
I think you'll find a few peeps have made cool ambience and texture synths, check out Alberto Zins "outerspace" and some Claudius-Maximus patches like "Chaos engine". You might also like the "machine machine" in my collection.
Nice GUI too.
Improvements you could make are to add offsets between the frequencies ;) !!! And a little bank of presets where you've programmed a few juicy patches is always really good when you lok at new synth, it gives you a quick overview of the "kind" of sounds it can make, so you can quickly choose if it's right for a part.
The difference between using a named send~ and a connection is negligable or null, but there's a disadvantage (and feature!) to using [send~] and [receive~] which is a 1 sample delay. There's also a lovely feature (hideous bug) that means the order you create sends and receives makes a difference, but otherwise don't worry about the efficiency.
On Thu, 7 Dec 2006 17:48:15 -0600 "Kevin McCoy" km.takewithyou@gmail.com wrote:
Hello,
I've made my first pd instrument. It's a 16 (I think...) op FM patch with selectable wave types run through a voltage controlled filter, with delay and reverb. I created a GUI for it, but I usually control it with a Behringer BCF-2000 midi controller. I find it somewhat useful for abstract tones and texture - can sound pretty rough or subtle depending on how it is set. In any event, I've been playing it for a few weeks now and I've gotten some nice things out of it, disturbance-esque Sachiko M. tone type things.
Required libs: freeverb~ for the reverb section, can easily be disconnected though.
It's available for download at: http://art.sewanee.edu/mccoy/pdpatches/fmbox.zip
Comments and suggestions welcome... Is anyone else doing similar things to this (non-generative instruments/envs for live performance)? I'm looking for more ideas :) I have experimented with adding amplitude envelopes to each of the 4 main sources but it turned a little bit drone-like and feedback sounding for my taste.
Also, if anyone knows, on an optimization note: do send~ and receive~ cause any difference in cpu-time compared to just straight connections?
Kevin
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now the neighbours definately think i am building a ufo in our spare room.
this is wicked though. gonna have a mess round and make some mods.
cheers. excellent work.
matt
Hallo, padawan12 hat gesagt: // padawan12 wrote:
The difference between using a named send~ and a connection is negligable or null, but there's a disadvantage (and feature!) to using [send~] and [receive~] which is a 1 sample delay.
Small correction: Actually there is either no delay or a delay of one block, which normally is 64 samples. See attached patch which I'm working on to illustrate the problem and the "correct" workaround.
To make a feedback audio connection - like you use for FM feedback - you cannot get any smaller delay than one block, though. If that is important, a similar solution like we discussed in the PVC Karplus- Strong thread: [block~ 1].
Also see http://crca.ucsd.edu/~msp/techniques/latest/book-html/node119.html and http://crca.ucsd.edu/~msp/techniques/latest/book-html/node120.html
There's also a lovely feature (hideous bug) that means the order you create sends and receives makes a difference, but otherwise don't worry about the efficiency.
This is the "incorrect" workaround to avoid the one-block delay that might happen with s~/r~.
Ciao
Frank Barknecht _ ______footils.org_ __goto10.org__
On 12/8/06, padawan12 padawan12@obiwannabe.co.uk wrote:
Personally I'd drop the freeverb. Lot's of people seem to put a reverb on their synths then get to see it's really best without it. Reverb is nearly always global effect in most cases, unless you're Phil Collins and want your drumkit to sound like each drum is in a different room. If the synth is washed in reverb too much I think you lose the focus of the sound, the sound becomes all about the reverb and not about the synth, so you lose control because you cant really hear it anymore as you twiddle the controls.
I agree about dropping the freeverb from the patch, as it's really better to let people choose their own (or no) effects unless it's truly integral to the synth's sound.
However, I disagree about reverb being a global effect unless you are Phil Collins. I think this depends on the genre.
I make quite a bit of techno/house/electro/minimal, and to me reverb is almost never a global effect. I usually use it (or a synced delay) on one or two sounds in a mix which need to have a sort of floating/wash feel and lay over the top. But the key to getting nice and tight percussion, and very clean mixes that will sound right in a a big room, is having most of your stuff totally dry with no effects at all, except compression of some sort ... I might have 8 fx tracks, and just one will have reverb, and a second delay. This assumes one is making tracks that may be played on a club system at some point. Headphone/listening music would give one more leeway. But this technique been working for me as my stuff is sounding quite good on those systems -- comparable to other stuff I've been playing out with my own stuff side by side.
Note, I'm not saying put different reverb on each thing - but rather use a single reverb, but only on one or two elements in a mix.
This being the case, you still wouldn't want the reverb built into the synth, as it needs to be applied in terms of the mix as a whole. Just my personal opinion.
~David
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Cesare Marilungo -
David Powers -
Frank Barknecht -
hard off -
Kevin McCoy -
padawan12