HI,
i'm working on an installation based on this apllication made in java

i communique with pd via OSC
for each collision pd receive a bang with two parameters
height tube
position tube

i'm looking for synthesis metal bars sounds to transform this "thing" into a musical instrument
there is samples here
http://obiwannabe.co.uk/html/sound-design/sound-design-audio.html
http://obiwannabe.co.uk/sounds/effect-clonk-002-bar.mp3
http://obiwannabe.co.uk/sounds/effect-clonk-002-bar.mp3
http://obiwannabe.co.uk/sounds/effect-clonk-004-iron.mp3
http://obiwannabe.co.uk/sounds/effect-clonk-006-bar.mp3

What kind of simple patch should i have to make for this goal?

au revoir
Denis

you probably already know/use this patch but [pix_coordinate] looks like it'd come in handy here. i never quite understood the whole deal with the s/t params, but it makes for a fun kaleidescope effect (http://puredata.hurleur.com/sujet-661-gem-kaleidescope-patch)

i'm pretty sure i get what you're trying to do but figuring out how to do it is gonna be tricky i bet - i'm not sure what patch achieves the "transparent" or "opaque" effect you're looking for, and then on top of that you need to figure out a way to stretch it out to a 3d model/figure and retain the transparent qualities. if you can figure out how to implement that openGL external you linked to then maybe it would be possible to just have two copies of the same pix_texture (be it a still or a video or a webcam) wrapped onto two 2d squares, have one on top of the other with a decent gap inbetween them, and then figure out a way to "fill" the areas between the 'active' colors on the Y axis - wrapping the texture to a cuboid wraps it to each side, and besides that i don't think an object like cuboid would be flexible enough for this.

basically what i'm thinking is take the image you posted and instead of trying to deal with one 3d block (cuboid) maybe use 2d squares, 2 of them with the same texture, and place them like the top and the bottom of the cuboid (like the bottom and top of a box just floating in space). since these two squares contain the same image figure out what object you need to fill the 3d space between the 'active' colors (according to how you set your color threshold, that extern looks like it might be handy for this). have it fill along the Y axis between the active pixels in the image, and then you should have basically the effect you're looking for. a benefit to this method (if it is even a feasible one, i'm just thinking out loud at this point) is that you would really even need a 'transparent' effect - the transparent bits would just be spots not filled because of their color threshold not triggering the fill. then you could take the 2d squares that act as the limits of the fill and just make them invisible one way or another - that way you could spin it all around in 3d and you should be able to see 'through' it from every angle!

all in all i would say it's definitely possible, it's just a matter of what method would work best... i can see there being multiple methods of achieving the desired effect, but you also have to make sure to not be redundant and waste processing overhead (like, say you used a transparency effect on a 2d square and then [repeat]ed it a few hundred times). i just threw that idea out there because i'm not sure that you can treat the default 3d objects to transparency like that...

hope that made sense, and i also hope i understood what you're trying to do correctly (otherwise that's one long useless post i just made ... if i'm on the right track let me know and i'd be willing to help you out with it. either way i just had a lot of fun thinking that out!

http://www.obiwannabe.co.uk/sounds/effect-rainforestbirds.mp3
http://www.obiwannabe.co.uk/sounds/effect-riverbirds.mp3
http://www.obiwannabe.co.uk/sounds/effect-seabirds.mp3

Background reading and inspiration

http://ccrma.stanford.edu/~tamara/publications/
http://www.acoustics.hut.fi/research/avesound/pubs/akusem04.pdf
http://www.csounds.com/ezine/winter2000/realtime/
http://www.obiwannabe.co.uk/tutorials/html/tutorial_birds.html
http://www.indiana.edu/~songbird/pubs/publications_index.html
http://web.mit.edu/fee/Public/Publications/Fee_etal1998.pdf

>
You could also put _all_ effects in a sub patch three times in a row and then from the main patch control what should be on/off inside these patches, which makes it kinda modular...but it would be a cheap hack and perhaps it will consume cpu even if some effects are OFF?<

that's what i do. as long as you thoroughly [switch~] all audio and [spigot] all inputs to control calculations, the cpu won't rise TOO badly.

in my modular synth, i currently have:

8 sampler voices, 4 synth voices, 8 drum voices, 9 effects channels..

each with 5 stages of effect functions, with 25 effects in each stage.

so that's:

(8+4+8+9) * 5 * 25 = 3625 effects units!!!

all loaded at once, but only switched on when i need them.

this uses about 50% of my cpu when all effects are off, so the cpu usage is climbing by loading them...but not intolerably so.

Something to share that combines a few different models in a linked way.

Start with a wind model based on turbulence, objects in the path vary their signals according to wind speed and their size and texture.

http://www.obiwannabe.co.uk/sounds/effect-wind3.mp3

And a rain model with carefully distributed droplets that make little clicks according to a range of textures they hit...

http://www.obiwannabe.co.uk/sounds/effect-plainrain.mp3

Next is a window pane built around a square lamina with glass-like character Here's a few knocks on the virtual window with a virtual stick.

http://www.obiwannabe.co.uk/sounds/effect-knockonwindow.mp3

and finally I combine them all in the same auditory scene with causal linkage, so the rain lashes against the window...

http://www.obiwannabe.co.uk/sounds/effect-rainywindow.mp3

(Total object count 80 operators)
Andy

Yep. Things are going that way. Making it a standard is just my wishful vision! Not everyone is going to settle on Pd. There are other dataflow type interfaces to different unit generator sets like CPS, but there's a distinct movement in the direction of dataflow as a method for building procedural audio code...as it should be I started to advocate this years ago as many here know, but found out only recently that EA have indeed ported Pd into some games, mainly for generative music scoring. Sony have something in R&D for the PS3 and certain game audio engine manufacturers have certainly considered it. I continue to knock on their doors, thump my bible and try to convince them to accept the good news into their hearts It would be wonderful to establish Pd as the main audio component in games for runtime production because it's the correct tool to break down the barrier between sound designer and audio programmer, that's the way to push things forwards.

If you want to support this direction, the title to run out and buy is Spore. Brian Eno and others wrote procedural music scores using a cut down version called EAPd, which Mark Danks (GEM author, now at Sony) led the charge to embed as the audio engine.

More than one chapter of the book I'm working on is devoted to designing patches for game applications, how to do dynamic level of detail and interface to event streams from world controllers and physics engines.

I'd say dataflow programmers, whether audio or visual, have a good future ahead for commercial employment (but then I'm (very) biased

Here's some types of things in dev, these are components for planes, sort of thing you'd use in air combat games or whatever.

One of them is developed as a practical example in the book. (I'm trying to get an accurate Supermarine Spitfire working at the moment...)

http://obiwannabe.co.uk/sounds/effect-jetengine.mp3
http://obiwannabe.co.uk/sounds/effect-three-synthetic-jets-flypast.mp3
http://obiwannabe.co.uk/sounds/effect-singleprop-cockpit.mp3