• s.elliot.perez

    image.png

    So if I'd alternate between writing to two different tables there on the right at every beat of the [metro], I'd have to time a switch between tables on the left accordingly. I figure switching arrays suddenly would also lead to snaps, so some kind of cross-fade...? but how to time it....

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  • s.elliot.perez

    granular.zip

    So I've been using some version of this patch (the main patch is gs.pd) for a while now for Granular Synthesis using audio files and it works well. I've adapted it here to take live input that continually refreshes (cf. the upper right of gs.pd), and it works, but sometimes there are random snaps in the sound. If I had to speculate as to what is causing this, I'd imagine it's the buffer changing in a part that is currently being read, but I'm not sure how to confirm this, or even what I'd do about it if I could. The heart of the synthesis is in grain-stream.pd, three of which are in [pd 3streams in the mid-lower-left of gs.pd. Any ideas? Maybe have it alternate reading into two buffers and have the grain-stream read only from the buffer that's currently not being written to? Sounds like that'd be tricky to coordinate timing-wise though.

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  • s.elliot.perez

    @whale-av Hey, sorry I never replied- I just saw your reply now after I bought the instrument. xD I ended up getting the BOSS GP-10 as a MIDI interface for the instrument. I knew the GR-55, SY-300 and SY-1000 would work as well, but didn't know about the GI-20. Maybe it would've been more affordable...

    Here are my notes. Happy to hear anyone else's experiences or ideas about how I can get the most out of this device:

    1)The instrument has screws on the back that you can turn to increase/decrease the sensitivity of each string. I've adjusted these a bit with dealing with the problems mentioned below in observation 9)

    2)The GP-10 also has some settings for more or less dynamic contrast. I've experimented with setting these differently, though setting "Dynamics" to 1 and "Play Feel" to FEEL 1 seems to be the best. Changing these doesn't seem to do anything for the problem in 9).

    3)I have the GP-10 set to MONO mode, rather than poly mode so that each string outputs to a separate MIDI channel.

    1. The output to separate channels works well if you do clear attacks with the bow (or use pizzicato of course). The attacks need to be clear whenever you switch to a different string. Raising the sensitivity (cf. 5)) allows you to have clear attacks that are still somewhat quiet.

    2. As long as a note is sustained, you get continuously updated bend values, which can be combined with the original noteOn value to get exact pitches and perform glissandi. I combine the two values in Pure Data with math objects. noteplusbend.pd

    3. The MIDI velocity value does not update continuously, but in PD I can use the velocity's value as a switch to allow the Audio-in (which also comes in through the GP-10's USB) to control the volume of the MIDI-activated note via [spigot].

    4. Because attacks with the bow need to be clear, if you fade in a note very gradually with the bow, it won't be detected as MIDI.

    5. By combining 6) and 7) I can construct patches in Pure Data so that a certain sound will play and be controlled purely by the Audio-input and that others will be activated by MIDI+Audio-Input. Eg. I can fade in a sound, crescendo with an up-bow and then attack crisply on the down-bow to activate other sounds.

    6. There are some issues with stable pitch detection when playing double-stops (diads) on two neighboring strings. It seems when doing so that there's some interference. However, for some reason, playing smaller intervals (major 3rds or lower) seems to work better than larger intervals. And avoiding open strings helps as well.

    7. The pitch detection of 9) could be ameliorated by removing the bend value from the equation, but of course glissandi/microtonality would be lost as a result.

    8. The E string (the highest one) gives the quietest, least consistent output. Pitch detection suddenly falls off after the first octave.

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  • s.elliot.perez

    @seb-harmonik.ar Thank you! Now if only I could figure out the magnification thing.

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  • s.elliot.perez

    Hello! I just recently system-restored my computer and now that I've redownloaded PD (Pd version 0.51.3) I can no longer eg. select objects A-C and connect one of them to object D in order to connect A-C to D. What versions is that possible with?

    Also, my desktop's option to magnify windows doesn't seem to work on this option either.

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  • s.elliot.perez

    Edited the title to make it potentially more universal... maybe I'll get an answer this way. ^^;

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  • s.elliot.perez

    I'm thinking of buying a Cantini MIDI violin. The person from electricviolinshop.com says I would need to hook it up to a MIDI-controller/synth like the Roland GR-55 and then into my computer to get useable MIDI data.

    Has anyone done anything like this? I want to know how the data would be detected in Pure Data. Would each string have its own channel # when using [notein]?

    Also, [notein]'s velocity value is the amplitude, right? So it would change depending on the strength of the string's vibration, right?

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  • s.elliot.perez

    Hey, was missing an abstraction from that zip, so reuploaded it.

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  • s.elliot.perez

    I used Cook's FindModes ChucK script to get 20 frequencies and their relative amplitudes, played around with the Q and the result is definitely more wood-like, if not identical to the original recording. Since this patch is specifically for a pan flute colliding against walls, I also have the three [bp~]s on the right that provide pipe-specific resonances with randomized pitches. To test it, click the [1( at the bottom of the patch, then set velocity with the horizontal slider at the top before banging to the left of that.

    fluteBody20201120.zip

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