not sure if anyone else is interested in this but I'd like to share another queen fruit of my research: curtis roads I'm half way into his microsounds and it only struck me yesterday to search for his sounds online. voilâ, this makes me happy I can't stop smiling listening to it:

edit: youtube link working now

@seb-harmonik-ar thanks for that. oneohtrix point never is closer to what I'm looking for than what I expected to get as an answer! This is perfect. It is still a little more repetitive than what I had in mind initially but then hearing this I wonder if sound with even less repetition would be pleasant to listen to at all. - but then again: if there's something more off-grid even I would love to hear it!!! Oneohtrix point never is definitely something to get into more deeply!
I also really like his idm (? - correct me if that's not the proper genre) piece by mindbuffer. I had a strong phase once with that kindof music - metamatics, telefon telaviv, xela. there exists this great sampler named "mas confusion". a pitty for my past self that this track wasn't included.

hi.
I'm looking for music that I can hardly describe. like "contemporary musique concrète" - musique concrète that makes use of the latest dsp and synthesis techniques and breaks conventions of form and harmony. it entirely lacks the element of repetition as a musical base. it doesn't care about sonic consistency - one moment the entire sound space might be filled with, say, a glitchy granular cloud of voice sample, the next moment an analoge synth pad fills out everything, next comes some additive lfo madness. it encompasses elements of "sound scape", noise, experimental. it is less repetitive and more dynamic than typical noise music or almost all electroacoustical stuff that I know. It completely changes timbres, flavours and clolors without ever predictively coming back to them. mangles voices through granular systems, encompasses fx otherwise only heard in scifi and phantasy movies. jumps in your face with aggressive intensity in one moment, next instance hides away in sublime lightness. it doesn't restrict itself to a specific set of instruments / tools. effects like reverb, phasing, distortion, delay etc aren't laid on top of instrument tracks but their parameters are heavily modulated to become integral part of the dynamic nature of its sounds.

amon tobin? - a little maybe but without the need to sound like traditional modern music with a continuing (if only underlying) harmonic / rhythmical base structure.

aphex twin? - same: less focus on drums and (generally) steady rhythmical flow.

noise music? - is far too repetitive in terms of timbre and dynamics (I don't know that much noise, maybe look that way?

generative music? - usually focuses on the composing algorithm more than on the refined sound engineering.

idm? - we need less repetition and more drama.

I specifically add at this point that I am not drunk as I am writing this

Maybe someone heard this kind of sound and has the heart to help a craving listener. I might still add to the description if better words strike me.

cheers,
oyster

@LarsXI this synth is highly awesome, the sounds have unique and strong character. thanks for sharing, I look forward to playing it.

@Jona this is so nice, nice video! makes me really excited to try it out myself. right now I'm just coming back from a travel and hope I still get to it later.

concerning your aim to recognize words and sentences - as far as I understood it, that's beyond the functionality of the timbreID library modules. the source audio signals (both carrier (preanalysed audio) and modulator (live audio input or another audio sample)) are divided into and analysed by in fixed, very small (some ~30ms) segments. each of these small segments of the live input is compared to the ones already preanalysed and the most fitting is selected and chosen for playback. in order to detect words or even phrases it would require additional logic (far beyond my knowledge) that would somehow detect a word's beginning and end and use that as the window size(?). I can't say if implementing it at all in Pd is possible or not. also sceptical if timbreID would even be a good basis to implement such an algorithm upon. if you find something in that regard let me know.

@Jona thanks for your reply. the paper you linked is gold worth. nails it. hopefully I can soon find the time to get into it more deeply and understand it. I will share any results here.

concerning the the database: having more of a diy-webdesigner background I always think of dedicated database software (like SQL or MySQL) as soon as someone says "database". now I assume that the scrambled hackz man, koenig, and also the paper you posted use the term in a broader sense, i.e. basically any organized collection of data, which could as well just be a list of values (like properties of audio snippets for example). and pd can do that internally. I also assume that an external database would result im immense and unneccessary overhead.

Hi all,

eversince I saw that for the first time some ten years ago I was more than fascinated. It's an artistic realtime audio
analysis/remapping engine made with PD and python(?).

The creator mentioned back then that he wants to release it - which hasn't happened in more than 10 years. So I am wondering how hard it is to recreate that for studying and fun purposes.

I'm at an experience level where I can imagine creating a link between an external database and Pd but I would still have to research the details.

Hence my questions:

1. How do you think the audio is beeing analysed in the beginning? What are the criteria for discriminating individual samples? he speaks of ~100 dimensional vectors for analysis - that's beyond my capacity. I don't even know how to research that but feel I only need good directions in order to proceed extending my understanding.

2. When I have chunks of audio plus their analysed properties stored externally - What, generally speaking, are the options for connecting to an external database from Pd? Writing an external for the live communication? Or are there other techniques I might have missed so far?

Thanks for any thoughts. I'm hoping not only to get deeper insights for myself but also to trigger a learning discussion among fellow enthusiasts.

Kind regards,
oyster

@whale-av thank you for that extensive answer! I will finally have a look at Purr Data and check out @yoichi_tbbb's awesome looking knob.
I'm not looking for freeverb~ though. It's only what deken outputs in case it finds nothing for a search.

By the time I posted this question I was already suspecting what you said about the various externals and the 64-bit versions.

One thing is still irritating. When I enter a random search term in deken, it returns a proper "nothing-found-message" as you would expect. Try it. Type "sdjfhskdjfh" in the search box and deken will return almost immediately:

[deken]: No matching externals found. Try using the full name e.g. 'freeverb'.

But when I search an existing external's name, like "moonlib" for example then deken will not show a result but also never tell me it found nothing. That's confusing. It makes users wonder if something is broken with the search or if there's really nothing adequate in the repository. Don't you agree?

Hi,

not sure if this is a bug. Don't wanna noobishly spam to the devs' bug reports pile but this needs to be clarified. Is it a deken issue or on the repository or what?

Some searches for externals in the 64-bit version of PD vanilla for windows (I'm on windows 10) the deken search (in the menu: Help -> Find externals) don't return results while the same externals (in some cases) can found on the 32-bit version. Some externals are neither found in the 32- nor 64-bit version. Additionally - as a marker that something is wrong here - PD does not output the line

[deken]: No matching externals found. Try using the full name e.g. 'freeverb'.

which is the case for truly non-existing names (like searching "sdfsdfsdf").

Example of external found as expected on 32- and 64-version:
cyclone

Example of external found as expected on 32- but NOT on 64-bit version:
moonlib

Example of external found neither on 32- or 64-bit version:
apple

What I'm most eager to find out is whether, say, the moonlib external is just not compiled for 64-bit windows and therefore is not found or whether it should be found and just isn't (which hints more towards a bug).

Does anyone have an idea? I'm not completely new to PD but not up to date at all with its development. It seems the current version 0.49 vanilla is the first to have a 64-bit windows version.

kind regards

@jameslo which bit version are you using?
I find that the 64-bit versions (both from installer and zip) cause the issue on windows10 (checked on 3 machines now). the 32-bit version works as expected.

I made a new observation: searching for moonlib "hangs" the search. no result is returned but also no message saying "no results found" - neither in the deken window, nor in the console.

@jameslo thanks for your reply. I updated deken without luck - latest version was already installed.

BUT I found something intersting: with an older installation of pd 0.47 on the same computer it works! 0.49-1 has the issue on two different win10 machines. I'll make further investigations tomorrow. Could this be a bug? with which version did you try?

Hi,
I'm working with pd vanilla on windows 10 and I'm trying to install the moonlib library to have gui-knobs.

Now, deken doesn't show any results for "moonlib" (I successfully installed the cyclone library with deken, so I asume deken itself is not the problem here).

I downloaded the "Source for all versions" from https://puredata.info/downloads/moonlib and added it to my externals folder, added the search-path but it's still not working. So I need to compile it? Is there a documentation on that somewhere?

This thread from this forum https://forum.pdpatchrepo.info/topic/11436/libraries-that-doesn-t-load suggests that you use "libdir" but I cannot find information that truly explains how it works, the Project Description on the download page is also not helpful, or am I missing something. Deken doesn't list libdir for me either.

(A thought that crossed my mind: Should I have gone with Purr-Data, which seems to be a quasi-successor of pd-extended?)

I am highly grateful for any thoughts and hints. Links to matching documentation / tutorials are also highly appreciated - thank you!

@whale-av thanks for your answer. I'm not quite there yet but I'll get there eventually

Hi all,

could someone be so kind as to explain the workings of the lop~ object in this patch to me?
This is a "simple" scrubbing bar that let's the user "scrub" through the loaded audio file by moving the horizontal slider. The lop~ was inserted to make this specific kind of "tape-start" / "tape-stop" effect that is familiar from some DAWs and DJing software.

It's hard for me to even formulate a question properly but it revolves about the fact that a filter object that usually is used for frequency-domain tasks (for example filtering high frequencies out from an audio stream) in this case is used as a time-domain-effect, i.e. creating a certain start-up / slow-down effect. I can't get my head around this. What's also confusing / interesting is that when you monitor the number outputs from the line~ and the lop~ with a snapshot~ object every 1ms the lop~ will output different numbers for some time while the line~ has already stopped outputting anything. How come? What does that mean for when you actually use lop~ as a "classic" audio filter to low-pass, say, a mic input or instrument recording.

I hope my question / confusion is somehow comprehensible. I am highly grateful for any explainations, preferably in layman's terms

oyster

p.s.: the patch is from Andy Farell's super interesting lecture on Microsound - Granular Synthesis - Physical Modelling - Procedural Audio which I'm trying to follow along. youtube.com /watch?v=Qxqtc2bgDpw