Category Archives: Uncategorized

Spectral Thing

I created a Spectral System by using pfft~ mypvoc, a time stretching device that is created through a phase-vocoder. I programmed a midi-controller (Livid Alias 8) to control the playback rate along with a delay/feedback patcher (called feed me) that uses pfft~ gizmo_loadme which allows overlapping transposition. I also included control over a lores filter that randomly filters sound using metro.

The midi has control of the playback rate on the phase vocoder system. The loop size and loop offset are controlled by metro devices for random variables.


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Project 4 – Spectral Processing (sort of)

For this project, I was trying to (re)create an audio-reactive visualization that uses frequency bands from an audio input, and then maps that to lights as output. I did a similar project for a class where a group and I programmed light shows for the Randy Pausch bridge, but we couldn’t figure out a way to make that process work in real-time. All the audio had to be analyzed and encoded before-hand, then fed into a program that converted the data to DMX so it could be interpreted by the bridge.

That being said, I really wanted to create a system that worked with similar effects, but could react to a live performance, for example, a singers voice. This would allow her to—by singing—control the visual appearance of the room she was performing in.

So I wrangled with the media lab lights (and encountered some “meal-sized” bugs along the way) but ultimately ended up with a system that allows me to map R,G,B values that correspond to frequency band intensities to different sets of lights.

Here’s a video of the system in action (with a music file as input):

To be honest is looks a lot better in person, but oh well! You get the idea!

For breaking the audio into bands, I actually used a pre-built object called [vz.audiosplittr], which outputs 4 bands of audio as a 0-1 value, which is then scaled into a 255 range and siphoned into RBG channels based on the light’s position.

If the bands are  1-4 with 1 being the lowest frequencies and 4 being the highest, and they are mapped to light patterns A,B,C, and D:

A: Blue from 1, green from 2

B: Green from 2

C: Green from 3, red from 4

D: Red from 4

In the studio space, these light configurations are then arranged into a pattern:

A B A A B A

B C D D C B

A C D D C A

B C D D C B

A B A A B A

Here’s a pretty ugly diagram I sketched while planning it out that gives some insight:

mapping diagram

So, the way that FFT comes into this whole mess is by acting as a filtering mechanism that allows for me to control how much of the audio signal comes through (implemented as a noise filter) and a [vectral~] smoothing object which allows me to control if the notes can appear quickly and sharp (more suited for percussive sounds) or is more smooth and gentle (more suited for singing and orchestral sounds).

And here’s the (master) patch:

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And here’s the stuff inside the [pfft~]

<pre><code> ———-begin_max5_patcher———- 968.3ocyXErjiZCD8L9qfhiobbII.ArGxgjC4T9.RsUpojwxi0VXIGgvyLYq Yp7sjOs7kDoVl3wNrqwdAh8ACpQH8dutUqV74YAQKUOyqiB+P3GCCB97rf.v jyPvg1AQaYOWVwpgtEI4OoV9on49GY3Oa.yBYHt0nXEXx1suOo0lpwTwMlW1 w8SVTT3uc3Q0lWp.qQscV1rUHscGlQ7Qi9A4Dq6XlxMB4iOn4kF+Pio4KPyC wIEKRmGFibMHjEniSHaOe0CV3YekGXFiVrrw3Ugf+k0AQtm7PoZ6VtzywH3A uNaV6+uNa92lps2h.Mq5sNTN7WT4pEOJYU8V+huV8iDm5krD2kz3i52vQ7uq KJGSuAN6mferpgeTxNg+jqN9A64eVBD+Lg7O6tf+YiO8sYKHcI.4+OjtfjAY HvoP5BRwXv2cpJipjo6zqWbIu97K6++UdUk5oqJBfboHfXRtSQRGEE4GdKDs HsqcLP2GIARfre3bXUPxnrJvFPXT1PithJRv2oQE3D7.DUzts54RhYilWuYi pZU3dl0cFtVq1FtioscNDvzh12oRH4kpF+dyIcnfwQeKYLPWL1HGRXjAgFTz .KD+8e9WVty+8FtrTvqCWxsdxvRsptVsmq6VEH+WUfLVhPZli2IHp6RATwka uhAWD7w3gB4htxcNVri52L.HGE71Dzvt3e8ZiEJu0YUy39xKxs40hyIfWKcL xpYIlP1MuHn9mTa9UWna2N43uRBMDjam5SqQ5TLfIGVkc1ojfwyY+TEpV0nK aIUah7vim8XEu1JOLiPIeemPmzoMhUq3x26JWIpYKq3fTh5zWMn3wUI5ThG7 kvCc5vCpG5iCyjoAN8M5AOIvwUr5kUm3IyaA3A2G7LQ5SdOidlH4IqOK1KlN 7P6KdlF2EoOK1SlN+EA0iv4yxXN53gb2DN2a3LMpSu2I8NBNzaDN95fX61YO 7Q8gwDPhslvOoztlYyglBouILhQZ9dQa+SAKLssNLisHrFsuXtmy8e2unspU bsrQ.EyMyoAyNTz2Y0dIYa+Rm62x60rlJyoZEqrzd9hRUkGZeLDsHFmQSxrJ 1BZZRAh3tqvYBaEniEAN+fKvc.zyq+LZqchDsJ06cYmCPs5I4Uivi3JMiXu2 cW7Hgve5E10CPDoHMg5fUVVbLADybBFiiGd.9yZN+FPHndwtet6vzbpClCM3 9E1i1Wmc0vK2d7YJfLDEYAGHkzBbQ5viwS+VP8GhjTL3Xyxw4X.poVudK.Oj 0XsxhLwebHaDl35DBkeKDv9NuN6e.ja2W7K ———–end_max5_patcher———– </code></pre>

 

And as a final bonus, here’s the bridge project I mentioned at the beginning of the post (if anyone cares) (skip to 4 minutes for cool stuff):

Assignment 2: “The Destroyer” Distortion And Delay Effect Box

I embarked on this project with the goal of creating something usable. Something that somewhere down the line I would be able to throw it into Ableton Live or route it into my Traktor setup to create interesting time-shifting effects that I wouldn’t be able to hear out of the box using any other piece of software. That is why I created “The Destroyer.” (The name needs some work, I know.)

Even though it can’t be routed to anything other than an audio file right now, it works how I wanted it to, and I have been able to get some really cool sounds out from it.

Here is an example of a random loop I had in my Max 7 library, and me changing some of the effect parameters of my patch. Can you guess what types of effects I have in the chain just by listening?

Now here is a screenshot of my patch:

Screen Shot 2015-09-23 at 1.04.24 AM

As you can see by the large text, it is a combination of a degrader and two delays that combine to make “the Destroyer.”

I highly recommend that you load the patch, load a sample, and play around with some of the buttons and sliders, there are tons of different combinations of each, and every combination creates something different, which I thought was very exciting.

AS I said previously, the patch is comprised of three main effects. It starts with a degrader, that changes/reduces the sampling rate and bit depth to create a very digital distortion, then it is run into dual delays. One is a standard time delay, but the other one is a delay where the time is controlled by an LFO. Both delays are then fed back into it, a textbook feedback loop.

I also control each effect using a wet and dry slider, which was reused from a very helpful Max tutorial. I made it so both the distortion and delay can be controlled how much, or how “wet” the effect is. I also utilized gates, to easily switch and bypass effects at will. I even added a switch to cut sample audio, for the freeze delay effect that is possible when there is enough distortion present and the feedback meter is at just the right level.

I originally set out to make a doppler effect like phaser. However, I ended up liking what I made even better than what I had in mind with the LFO, so then I added another delay and distortion, and the combination can create some weird electronic effects that I think are pretty awesome.

Enjoy!


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-----------end_max5_patcher-----------

Media Lab policies

• To use the Media Lab outside of class time you must make a reservation using the online reservation system.

• If you are the last person leaving the Media Lab you must perform the following shut-down procedure, to protect our equipment:

  1. Shut down the X32 digital mixing console. The power switch is on the back of the unit, on the right. (The loudspeakers in the room may be left on as long as the mixing console is turned off).
  2. Make sure both video projectors are turned off. When the projectors are off you will see a red light on the front of them. When they are on you will see a green light on the front of them.
  3. Put the Mac Pro computer to sleep.
  4. Make sure the doors to the Media Lab are fully closed and locked when you exit the room.

• When you are using the Media Lab outside of class time you are responsible for the equipment in the room. Damage resulting from careless behavior will result in your Student Account being charged for the cost of repairs. If you allow visitors in to the Media Lab you will be responsible for their behavior as well.

3 ways to unlock a Max patch

1.  Click the Lock/Unlock button on the bottom-left of the patch window

01-unlock

2. Right-click or Control-click somewhere in the background of the Max patch.  Select “Edit” from the context menu that pops up.  Don’t click on an object in the patch or this trick won’t work.
02-unlock

 

3.  Hit Command-E or select “Edit” from the View Menu

03-unlock