• 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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  • s.elliot.perez

    @seb-harmonik.ar OK, I kind of get it. But what about [hip~] in this patch?

    hipThing.pd

    Whereas [lop~] goes from 0 to 1 when it gets a 1 and from 1 to 0 when receiving a 0, [hip~] goes from from 1 to 0 when it gets a 1 and -1 to 0 when it gets a 0. Why is this? I found this used to make a certain kind of impulse curve as can be seen to the right where the bang is. Slowing down the instant click to a 2ms change seems to create a mixture of both curves that goes from 1, past 0 and then back up to 0.

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  • s.elliot.perez

    Thanks for the reply, @whale-av , I appreciate it, haha.

    This part of that article was of particular interest:

    Now, here's a trick that I've used on many occasions to fine-tune imitative patches... I sample the sound I'm trying to emulate, and then replay it two or three octaves below its original pitch. This reveals many signal components that are of either too high a frequency, or too short a duration to be distinguished at the normal pitch. Performing this experiment on the CR8000's cowbell reveals no extra high-frequency information, but exposes a halo of noise surrounding the partials, particularly during the impact phase. I was able to recreate this on the Nord by adding a noise generator to the two oscillators, choosing a suitable 'colour', and mixing it in at a low level. I found that pink-ish noise (ie. one with the high frequencies suppressed) gave me the effect that I wanted, as shown in Figure 6.

    What's funny is, I had moved on to the next chapter, which includes a PD resynthesis of a metal can using noise clicks run through four [bp~]s at different frequencies (found through a spectral analysis). So before I saw your post, I was thinking a similar technique might work for the cowbell, since it seems to have a very noisy spectrum. I'm going to go ahead and assume Farnell doesn't really expect you to create a perfect cowbell with only additive synthesis but just wants you to try? lol

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