Designing Sound: Idiophonics – Max Patches

This is the second set of example Pd patches ported to Max from Andy Farnell’s Designing Sound book. It includes a nice bouncing sound algorithm and some good bell tones.

Download Sound Design Practical Series – Idiophonics

If you haven’t already, be sure to download the Sound Design Practical Series helper files

The Audiovore Presents: John Wiese/Steve Jansen/Holland Hopson/Brad Davis

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I’m excited about sharing the bill tomorrow night with John Wiese,¬†Steve Jansen and Brad Davis.

Wednesday April 9, 8pm
Parkside Cafe
4036 5th Ave S
Birmingham AL 3522

I’ll be presenting my Radicans project which uses small motors and soundbug transducers to transform ordinary objects in the performance space into speakers. Tables, chairs, trashcans and windows come to life in a chorus of electronic chirping, buzzing and spinning drones.

3D Printed Soprano Sax Mouthpiece

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This is my first working prototype for a series of experimental soprano sax mouthpieces. This model marries a trumpet or french horn-style cup with a sax mouthpiece neck. Thanks to Jamey Grimes for last-minute 3D modeling kung-fu.

Designing Sound: Artificial Sounds – Max patches

I enjoyed reading Andy Farnell’s excellent Designing Sound book a few years ago. While working through the Practical Series examples he provides, I decided they would be more useful for me as Max patches. When it comes to coding and algorithms, I also know that I learn better by going slowly and working step-by-step, so I decided to port the patches from Pd to Max.

A few disclaimers and caveats:

  • Many of these patches rely on abstractions that Farnell or I created. Download the Sound Design Practical Series helper files
  • Some of these patches require gen~, particularly to realize the rzero and rpole filters.
  • Filter topologies differ between the programs. My goal was to get something working in Max, not necessarily to exactly match Parnell’s Pd patch. Therefore, some patches could benefit from a close comparison with the Pd version and from tuning by ear.
  • Not everything initializes properly. Consult the text for reasonable starting values, or experiment to find your own.

Download the Sound Design Practical Series – Artificial Sounds