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increpatio
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« Reply #60 on: 18:42:15, 16-09-2007 » |
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WHY DO I WRITE SUCH £%^(@*&£^%(£&@$ COMPLICATED MUSIC?
More to the point, what on earth sort of swear-word were you masking out there? |
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sambeckett
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« Reply #61 on: 18:53:25, 16-09-2007 » |
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ah yes... I am not 'currenly editing' but I am 'currently copying', or more to the point, currently frantically scribbling away so my 'good' copy is beginning to look more and more like my original notes. I hate this bit due to the almost complete lack of creativity involved and my complete inability to reason with computer programmes or draw straight lines  If anyone is, or knows, a mind-reading copyist then please send them my way |
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What's empirical about sound? You can't write an article about it in die Reihe, that's for sure.
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Chafing Dish
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« Reply #62 on: 20:44:12, 16-09-2007 » |
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Why granular synthesis?
I have friends who get all excited and boggly eyed every time they talk about it, but it all gets far too technical far too quickly. It's a real gap in my knowledge I fear.
Why ask why?  Seriously, the book "Microsound" by Curtis Roads, offers a great introduction to granular synthesis as a resource. You can also just get a Max-patch and some sound files and fiddle around with it. You quickly can achieve rather compelling results, even if they're hard to accommodate into a longer piece of compelling music. -- but then you listen to Xenakis' La Legende d'Eer and you find yourself wanting to try a little harder. |
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stuart macrae
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« Reply #63 on: 20:52:55, 16-09-2007 » |
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Maybe this should be for the Embarrassing Ignorance thread, but I've never really had a clue what a Max-patch is either. I know it's got something to do with Max MSP, which has something to do with a 'platform' but then I haven't got a clue what that means either!
Can anyone suggest a book that might enlighten me as to where to start?
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Chafing Dish
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« Reply #64 on: 20:55:56, 16-09-2007 » |
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Max is a programming language like BASIC, C, or PASCAL, -- or FORTRAN, for that matter. A patch is like a program written in that language, but since it's an object-oriented language, the program takes the form of a bunch of boxes connected to one another.
Be glad you didn't post in the ignorance thread, because you wouldn't have gotten an answer.
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sambeckett
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« Reply #65 on: 21:12:16, 16-09-2007 » |
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Can anyone suggest a book that might enlighten me as to where to start?
There are some very interesting tutorials available on the web that explain in much more detail what it can do. A guy called Todd Winkler has also written a book called 'Composing Interactive Music' which has lots of useful examples, which is just to do with the Max part and not the MSP part, so just to do with the mathematical/midi side of it rather than to do with the audio and signal processing side. |
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What's empirical about sound? You can't write an article about it in die Reihe, that's for sure.
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increpatio
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« Reply #66 on: 21:15:18, 16-09-2007 » |
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Max is a programming language like BASIC, C, or PASCAL, -- or FORTRAN, for that matter. A patch is like a program written in that language, but since it's an object-oriented language, the program takes the form of a bunch of boxes connected to one another.
Be glad you didn't post in the ignorance thread, because you wouldn't have gotten an answer.
But you might have gotten a lot of sympathy! I have tried playing with it myself, but haven't fully found a use for it yet (well, I have, but haven't gotten around to it yet. Or rather I've tried a few times but have failed). |
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Colin Holter
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« Reply #67 on: 21:18:37, 16-09-2007 » |
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Max is a programming language like BASIC, C, or PASCAL, -- or FORTRAN, for that matter. A patch is like a program written in that language, but since it's an object-oriented language, the program takes the form of a bunch of boxes connected to one another.
Be glad you didn't post in the ignorance thread, because you wouldn't have gotten an answer.
C++ is object-oriented too–Max is a graphical programming environment, which is why you can see the boxes and lines. MSP, as sambeckett says, is for working with audio signals, whereas Max deals with control data. In other words, if you're working with audio sampled at a rate of 44,100Hz, MSP will crank out 44.1 operations per second to keep up.  |
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increpatio
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« Reply #68 on: 21:22:14, 16-09-2007 » |
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In other words, if you're working with audio sampled at a rate of 44,100Hz, MSP will crank out 44.1 operations per second to keep up.
Erm can't most processors now do several billion floating-point operations per second? What do you mean by operations here? |
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Colin Holter
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« Reply #69 on: 21:31:34, 16-09-2007 » |
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Erm can't most processors now do several billion floating-point operations per second? Yeah - but the scheduling of those operations (a word I'm using in the most generic math sense) has to be pretty strict when working with audio, and (I think) that's a big part of the MSP add-on. I wish I could explain further, but we're reaching the perimeter of my understanding of computational engineering! |
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sambeckett
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« Reply #70 on: 21:37:23, 16-09-2007 » |
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here is some useful writing about Max/MSP and granular synthesis, for all who are interested...
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What's empirical about sound? You can't write an article about it in die Reihe, that's for sure.
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increpatio
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« Reply #71 on: 21:39:46, 16-09-2007 » |
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Erm can't most processors now do several billion floating-point operations per second? Yeah - but the scheduling of those operations (a word I'm using in the most generic math sense) has to be pretty strict when working with audio, and (I think) that's a big part of the MSP add-on. Ah that makes some sense. |
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richard barrett
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« Reply #72 on: 23:22:17, 16-09-2007 » |
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In other words, if you're working with audio sampled at a rate of 44,100Hz, MSP will crank out 44.1 operations per second to keep up.
Erm can't most processors now do several billion floating-point operations per second? What do you mean by operations here? Colin means 44100 not 44.1, I think. And, of course, it wouldn't just be doing "something" 44100 times per second, but "doing everything it does" 44100 times a second, which can get quite taxing even for the most modern machines... |
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Colin Holter
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« Reply #73 on: 02:13:13, 17-09-2007 » |
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In other words, if you're working with audio sampled at a rate of 44,100Hz, MSP will crank out 44.1 operations per second to keep up.
Erm can't most processors now do several billion floating-point operations per second? What do you mean by operations here? Colin means 44100 not 44.1, I think. And, of course, it wouldn't just be doing "something" 44100 times per second, but "doing everything it does" 44100 times a second, which can get quite taxing even for the most modern machines... Yes, exactly–44,100 times per second. We typically say "44.1 kHz," so I don't usually think in terms of the longer figure. Some people work in even higher sampling rates, which according to the Nyquist theorem means that higher frequencies of sound can be reproduced (half the sampling rate is the highest frequency available). Again, however, I'll demur to go into detail, because if people start asking me questions about digital audio math we're going to have to move this discussion to the "EMBARRASSING, CRINGE-WORTHY ADMISSIONS OF IGNORANCE" thread. |
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increpatio
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« Reply #74 on: 13:10:16, 17-09-2007 » |
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In other words, if you're working with audio sampled at a rate of 44,100Hz, MSP will crank out 44.1 operations per second to keep up.
Erm can't most processors now do several billion floating-point operations per second? What do you mean by operations here? Colin means 44100 not 44.1, I think. And, of course, it wouldn't just be doing "something" 44100 times per second, but "doing everything it does" 44100 times a second Including crashing? (on a general note: stability of audio packages seems to be okay, though it takes usually several months to tame cubase/logic down after installing it...). , which can get quite taxing even for the most modern machines...
Indeed; hense lag and all of these other terrible things. I've come across Nyquist before, but wasn't able to browse lightly through the proof so rather left it be |
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