• s.elliot.perez

    @whale-av Ah, OK. Just wanted to make sure it wasn't a bug with my computer or something. I'll hold off on the weeks of study for now though. Thanks!

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  • s.elliot.perez

    Using a number-box to put 0.99 into a [swap 1]->[- ] outputs 0.00999999 instead of 0.01. Anyone know why this is? I've expanded the number-box to make sure it doesn't have any decimal values beyond the 100ths place. Oddly, 0.98 gives back 0.02 normally.

    I've just tried putting a message [1 (->[- 0.99] and this also gives back 0.00999999. Tried it without any number-boxes, putting a [print] at the output and the result is the same.

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  • s.elliot.perez

    Here's a related question, @whale-av : What are the disadvantages of using 32-bit PD in 64-bit Windows? Is it slower than the 64-bit release?

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  • s.elliot.perez

    Thanks, @weightless , @whale-av

    Is [Helmholtz~] significantly more accurate than [fiddle~] and [sigmund~]? Is it worth changing PD versions over?

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  • s.elliot.perez

    Hey,

    I was wondering if you use [fiddle~] with live instruments or if there are better objects? I remembered @katjav had made the [helmholtz~] object, but when I try to load it, I get the error

    C:\\Users\\selli\\Desktop\\PD_patches\\externals\\Katja\\helmholtz~.dll: couldn't load
     helmholtz~
    ... couldn't create 
    

    The double slashes are odd... but maybe it's because my OS is Windows 64Bit and the download is for 32Bit?

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  • s.elliot.perez

    Not sure if this is of any use, but someone sent me this a while ago: http://designingsound.org/2013/06/tutorial-a-compressor-in-pure-data/

    I never really got the hang of using it though. But it is Vanilla!

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  • s.elliot.perez

    @lacuna Concretely speaking, why do you need to start ramps multiple times within a 64 sample space?

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  • s.elliot.perez

    P. 399 of Designing Sound (p. 423 in this online version: https://ja.scribd.com/document/289610007/Designing-Sound-Andy-Farnell-pdf) describes the building of formants and a resonator for a wooden door. Here are the formants:

    image.png

    And here are the delay alues for the resonator:

    image.png

    While I imagine the formants were derived from spectograms of door recordings, I don't understand how the delay values (4.52ms, 5.06ms etc.) were derived. I thought they might derive from the formant frequencies, but while there are eight delays, there are only six filters.

    Does anyone have any idea where Farnell got these values? Also, do abstractions have the same audio lag as subpatches?

    EDIT: Here's the actual patch. I added that hip~ thing from the other thread to hear a single impulse, haha, with and without formants. The formants sound good- like they'd make a good spectrum for a wooden body with more resonance, but with the delays sound kind of trashy: doorcreaker.zip

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  • s.elliot.perez

    @seb-harmonik.ar

    @seb-harmonik.ar said:

    the equation (1-az^-1) is 0 when z=a

    Yes, I understand.

    , we call "a" a zero of the function. so a zero at 1=a corresponds to the function 1-z^-1. this is the z-transform of a time domain equation y[n] = x[n] - x[n -1] where x is the input sequence, n is the current sample, and y is the output sequence. it is a "discrete" differentiator.

    OK, so what sequence of input values is leading to the -1?

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  • s.elliot.perez

    @seb-harmonik.ar When you say 'A "zero" at 1', what do you mean by 'at 1'? The constant stream of 1s from the [sig~] or [vline~]? Or are you saying that the 1 & 0 from [sig~] correspond to "pole" & "zero"?

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