Hi:

There is a good interview with Whitman on

http://disquiet.com/hrvatski.html

To get a similar sound, you may want to feed the input into fiddle~, use the frequency output to drive osc~ (a sine oscillator), and use the amplitude of that freq component to multiply the output of osc~. Then, run this into four delread~/delwrite~ pairs, each set for approximately (but not quite) the same delay time, and feedback for each delread~/delwrite~ pair (see the example delay.loop.pd, but have 4 of these in parallel). Then granulate this, ring modulate, spectral processing, what have you. Run everything through a reverb at the end, to smooth things out and mix everything together.

Whitman uses fiddle~, so that seems like a good start. The spectral processing stuff might use the FFTease stuff from Christopher Penrose (MAX/MPS only), but you could probably do interesting stuff with the FFT ugens in Pd.

Sean Costello

----- Original Message ----- From: "marcus estes" marcus.e@gmail.com To: "PD List" pd-list@iem.at Sent: Monday, February 07, 2005 2:59 PM Subject: [PD] live input processing patch

I've been approached by an acoustic instrumentalist to develop a PD patch designed to process live input from a microphone. It's not my intention to wholly reconstruct the timbre of his instruments; I'm probably more interested in time-domain modulation than frequency.

That said, does anyone have any broad suggestions for an interesting approach to this project? I'm not very fluent in PD's FFT capabilities, so I'm probably limited in that aspect by reusing patches from the docs. At the moment,

I'm

more inclined to think along the lines of a multi-lined delay system, with certain time-windows held for looping and slight modulation.

I'm a big fan of the Keith Fullerton Whitman album "Playthroughs," and I understand that most of the album was produced by processing guitar sounds through Max/MSP patch. I wish that contemporary electronic musicians were more willing to publish their patches openly; I'd love to see what he used to create those sounds.

I'm also a big fan of Derek Holzer's Particle Chamber patch. By increasing the sample playback length to a few seconds, the sounds retain their

timbre

just enough, while the jittery, polyphonic playback creates a very interesting reinterpretation of the source material.

I have considered re-tooling the Particle Chamber for use with a live

input,

but that seems a bit tricky. Has anyone else tried such a feat? In

general,

I'd be interested to hear other's ideas and experiences with live input patches. If you've already done some work with this, please post your patches! I promise not to rip you off too blatantly, or if I do, proper accreditation will be given to the living-room-sized audience I have in

mind

for the piece.

Thanks! Marcus

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Hi Marcus,

marcus estes wrote:

I'm a big fan of the Keith Fullerton Whitman album "Playthroughs,"

Me too! I got a similar effect by using a harmonic series of resonant comb filters triggered by contact mike input. The mikes are attached to various bits and bobs I found in the Amazon... shells, plants, bones and other unidentifiable stuff that produce nice sounds when plucked, scraped or bowed. The comb filters are run through a granulating feedback delay that makes "clusters" of particles similar to what you hear on "Playthroughs" or "21:30 for Acoustic Guitar". Three or four delays set at irregular intervals [i.e. 3/4, 7/5, 5/9, etc] add further texture.

I'm also a big fan of Derek Holzer's Particle Chamber patch.

Thanks! ;-)

I have considered re-tooling the Particle Chamber for use with a live input, but that seems a bit tricky.

It's not too hard, really. Particle Chamber reads from static tables, grabbing sections of loaded soundfiles and playing them back. I've built a few adaptations for myself of this idea using delay lines instead of tables, and they perform on input audio in the same way. I just haven't cleaned them up for release yet. But if you compared the "guts" of each patch, you would find them almost identical except for the source of the sound. The mechanics remain pretty much the same. Play around with that for a while, and I promise to clean up my own version sometime in March for public release.

best, derek