session+28/04-23h51m.mp3

I know you will think this is another installation junk, but is what i like, and it's totaly made in PD.

http://www.ciansynthesis.net/sounds/session%2B28_04-23h51m.mp3

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

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

today i built simple delay in pd. so here is my short jam-session .

http://www.cabowitz.com/250607.mp3

http://www.hypercirclestudios.com/slvmchn/stuttersputter.mp3
http://www.hypercirclestudios.com/slvmchn/morepsygoa.mp3
<img src = "http://www.hypercirclestudios.com/slvmchn/stuttersputter.png">

neither are complete songs per se but more just jamming out with mamalala's bassemu~ and some gates/delays... fun stuff

hi brett, that track is still up on my site. for some reason the link comes out as a .pd file not an .mp3

http://www.m-pi.com/this-is-serious-mum.mp3

just cut and paste that and it will work.

also heaps of stuff here: http://www.m-pi.com/remixes

>It's weird that many ppl seem to be using pd but that the output~ page in the forum still has threads in it from 2004 in the top page!! <

it took me a few months of solid patching (a few hours every day) to get a workable setup for actually making tracks. it's certainly no small undertaking.

>I'm pretty new to pd and just working my way through tutorials at the moment, but do you have any tips with regard to actually going about customising your own setup?<

you are on the right track going through the tutorials. the way i did it was first to build stuff to cut up and effect samples, and then secondly make a system to control those processes live. mine was all based on the [key] command, and i just triggered everythign from my laptop's qwerty keyboard. this was nice when i was travellign as it meant i didn't need to cart any gear around. also good for playing live cos i could pick my computer up and jam on the dancefloor. there are a few options though, especially triggering stuff with sensors and such. but i'm sticking with the bare bones keyboard approach cos it works for me well enough.

> like whether to keep lots of separate instruments or try to keep everything under one roof...<

i try to keep my stuff in one patch as much as possible. a couple of reasons for that, but the main one for me was that i kept modifying abstractions and then other patches that relied on those abstractions would stop working. generally much easier just to have one or two or a few patches to do everythign you need. even if you incorporate everything you make into one patch it doesn't get too big. usually well under 1 meg.

>I think I will tend to mainly use samplers and control structures for controlling my external Midi gear, but in a live setup, not sure how to integrate it into Logic Pro?<

my thinking on this is that if you have a guitar it has 4 or 5 strings, and you manipulate those strings in a variety of ways to make most of the sounds you need. if you listen to my audio..all of that is just 2 or at most 3 channels! so i always have only 2 or 3 samples playing at once. my stuff from back then was a bit light..not really hard hitting on a dancefloor (which is what i'm interested in) ..but i think you do what to keep everythign as minimal as possible. as far as live performance goes, i wouldn't go anywhere near something like logic audio.

if you have midi gear, then def work on triggering that with pd. i'm working on synthesis within pd now, rather than the sample based stuff...but it's a constant battle to keep cpu usage to a minimum. triggering external devices will be no problem for pd and will leave you heaps of cpu for doing sample mashing.

can't stress enough though. KEEP IT AS SIMPLE AS POSSIBLE. for live music, traditional musicians only play one instrument at once. if you want to make whole songs live, then you are going to have to do the beats and bass and interesting stuff all at one time, so you want to keep it as simple as possible so that you can inject a lot of liveness into it. generally, the more channels of audio you have going at once, the less room there is for jamming out in an impromptu fashion....unless you have magic fingers.

>Look forward to hearing your stuff if possible.<

cool, thanks. quick background on my stuff..."this_is_serious_mum" is a live jam recorded in one take. just 2 channels of audio driving all the sounds from small sample loops being cut up in realtime by me pressing keys on the keyboard. it's a super simple setup, but i think the reason why it works ok is that i spent more time actually playing and practicing than i spent on coding the bastard. i toured across europe and japan and australia playing this stuff and it was generally well recieved. at really good gigs it was the biggest rush ever.

so yeah. good luck. grab the bull by the horns and just go for it.

Cheers,

matt

2 short sound examples:

http://www.m-pi.com/pd/pd-acid.mp3

http://www.m-pi.com/pd/pd-acid2.mp3

my juno. makes pretty nice acid i reckon. feel free to do whatever you want with this. there is no licence or anything. you can modify it or whatever. have fun.

file is here: http://www.m-pi.com/pd/juno.zip

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edit...there is a readme file to explain what to do, but i didn't stress enough:

WATCH YOUR SPEAKERS!!! the different presets i made have large volume discrepancies.

I posted the following in the reacTiVision forum and someone toldme the next quote.
"This is about reacTiVision.

Is the following possible:

I use Traktor (DJ software) and I want to be able to setup a fiducial to represent a deck in Traktor. I would like to have a center in the reacTable and then the distance of the fiducial from the center will control the volume and the orientation of the fiducial the pitch of whatever is being played in that deck. This way I can have a max of 4 fiducials for each deck. This would help a lot.

A little explanation: Before you ask why I want to do this, let me justify. I listen to Indian Music and it is all in MP3 not midi so i don't know how to control it from the reacTable straight away, if there is a way please do tell me.

PLEASE PLEASE help me, I really want to do this. "

"You can use Pure Data ( http://www.puredata.org/ ) to load and play back the MP3 files as samples. Setting a patch up with volume and pitch is pretty easy. There may be some limits on how big a sample can be but I don't know what they might be. You can ask here=> http://puredata.hurleur.com/ It is Pure Data forum with some smart folks in it.

Bill "

So could someone tell me how this is possible.pleasehelpme.

It would be nice if someone cold post the code for i mp3 example file and I could try larn fromit and implement to other mp3s

thanks

This is my first composition using Pd's data structures, and I found that I enjoyed the process quite a bit, once I got the patch debugged. The experience was a good combination of visual editing with the mouse and text editing with the keyboard. The visual representation worked well for composition in this style. By biggest problem was finding a way to represent in the score all of the things that I wanted to control. Since I wanted to have the score generate the piece, I did not add a couple features, like pitch shifting and voice allocation control, which I would have liked to have.

Solitude_-_Hans-Christoph_Steiner_-_2004.mp3

For more info:

http://at.or.at/hans/solitude/