I'm not very experienced with synthesis so I would like some suggestions for new ideas.

My tastes lean toward "natural" sounds, things that could be acoustic instruments only they have some kind of little bent that makes them clearly electronic. I find myself using waveguides a lot. I use the modern_waveguide UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a. Karplus-Strong) but critically has flat group delay across all frequencies so the harmonics are in tune, and it can handle fractional sample lengths. So it makes beautiful tones. For example, just playing pink noise into modern_waveguide makes very natural sounds that are all in tune across the spectrum.

I also like sounds that have very high harmonics because they are more engaging. I like gbuzz set for lots of high harmonic energy for this reason.

I also like putting things through filters. A nice technique is to play several notes with gbuzz as the source, and each note is put through a resonant low pass with different cutoffs and Q's.

So what I'm getting is "natural." But this is a pretty limited range. Just wondering how I can get beyond this. I mainly use lowpass2.. should I try the moog ladder filter UDO for a different sound? Any other filters? Any other techniques entirely?

Mike

These are very good questions in a very difficult subject area. The fact is that the palette of synthesized sounds has been changing more and more slowly over the past decades, indicating a bit of stuckness. The interest in academic computer music DSP people has shifted somewhat to musical information retrieval, emulations of spaces and of old gear, and spatialization, none of which have much relevance to new methods of natural sounding synthesis.

What I suggest in your search for new ideas is to listen to a variety of current synthesized music, including not only "academic", "electroacoustic," and "music N based" music but also high-end commercial, popular music with elements of synthesis (like Beck), "experimental improvised" or "laptop" music, "dance" music, and the "demoscene.". When you hear something you like, bend every effort to find out how they did it. Often you can turn up interviews online in which you can learn something.

Just recently I heard a piece by James Dashow that had some pretty stellar synthesized sounds, some of which are hard to tell whether natural or not, then I found an interview that explained at least some of how he got at least some of the sounds, this is music N all the way:

http://www.jamesdashow.net/download/DashowCMJInterview.pdf

This interview is already 11 years old but it is still very interesting. He's been doing this stuff for decades, and it shows. It's pretty refined.

One key to rich synthesis is modulated delay with feedback in various forms, but I'm sure you already know that. Also a lot of cool sounds are done with granulation, it doesn't always sound like that's what it is.

For books, have a look at Andy Farnell's _Designing Sound_ and its examples, all for Pure Data. There are a bunch of examples showing to how design "natural sounds" such as wind, water, splashing, knocking, etc.

Then here's a mass and spring system for physical modelling synthesis I've been meaning to evaluate, it's moribund but it looked really interesting and may still be buildable: http://taopm.sourceforge.net/. There are a few really good sound examples on the tao site.

Hope this helps,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

I'm not very experienced with synthesis so I would like some suggestions for new ideas.

My tastes lean toward "natural" sounds, things that could be acoustic instruments only they have some kind of little bent that makes them clearly electronic. I find myself using waveguides a lot. I use the modern_waveguide UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a. Karplus-Strong) but critically has flat group delay across all frequencies so the harmonics are in tune, and it can handle fractional sample lengths. So it makes beautiful tones. For example, just playing pink noise into modern_waveguide makes very natural sounds that are all in tune across the spectrum.

I also like sounds that have very high harmonics because they are more engaging. I like gbuzz set for lots of high harmonic energy for this reason.

I also like putting things through filters. A nice technique is to play several notes with gbuzz as the source, and each note is put through a resonant low pass with different cutoffs and Q's.

So what I'm getting is "natural." But this is a pretty limited range. Just wondering how I can get beyond this. I mainly use lowpass2.. should I try the moog ladder filter UDO for a different sound? Any other filters? Any other techniques entirely?

Mike

As a side question: I hadn't remembered the modern_waveguide UDO until
this message. I found it in the list archives, posted some time ago.
At the time, Victor wrote about a possible wguide3 opcode but that
never seemed to happen.

Question for Victor: would it be possible to have a wguide3?  Or is
there some other opcode that covers this now?

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

> I'm not very experienced with synthesis so I would like some suggestions for
> new ideas.
>
> My tastes lean toward "natural" sounds, things that could be acoustic
> instruments only they have some kind of little bent that makes them clearly
> electronic. I find myself using waveguides a lot. I use the modern_waveguide
> UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a.
> Karplus-Strong) but critically has flat group delay across all frequencies
> so the harmonics are in tune, and it can handle fractional sample lengths.
> So it makes beautiful tones. For example, just playing pink noise into
> modern_waveguide makes very natural sounds that are all in tune across the
> spectrum.
>
> I also like sounds that have very high harmonics because they are more
> engaging. I like gbuzz set for lots of high harmonic energy for this reason.
>
> I also like putting things through filters. A nice technique is to play
> several notes with gbuzz as the source, and each note is put through a
> resonant low pass with different cutoffs and Q's.
>
> So what I'm getting is "natural." But this is a pretty limited range. Just
> wondering how I can get beyond this. I mainly use lowpass2.. should I try
> the moog ladder filter UDO for a different sound? Any other filters? Any
> other techniques entirely?
>
> Mike
>

Send bugs reports to the Sourceforge bug trackers
csound6:
            https://sourceforge.net/p/csound/tickets/
csound5:
            https://sourceforge.net/p/csound/bugs/
Discussions of bugs and features can be posted here
To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"

A wguide3 would be wonderful. I think we really need a waveguide opcode with true flat group delay and accurate fractional sample length.

Mike

On Thu, Mar 6, 2014 at 6:01 PM, Steven Yi <stevenyi@gmail.com> wrote:

As a side question: I hadn't remembered the modern_waveguide UDO until
this message. I found it in the list archives, posted some time ago.
At the time, Victor wrote about a possible wguide3 opcode but that
never seemed to happen.

Question for Victor: would it be possible to have a wguide3?  Or is
there some other opcode that covers this now?

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

> I'm not very experienced with synthesis so I would like some suggestions for
> new ideas.
>
> My tastes lean toward "natural" sounds, things that could be acoustic
> instruments only they have some kind of little bent that makes them clearly
> electronic. I find myself using waveguides a lot. I use the modern_waveguide
> UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a.
> Karplus-Strong) but critically has flat group delay across all frequencies
> so the harmonics are in tune, and it can handle fractional sample lengths.
> So it makes beautiful tones. For example, just playing pink noise into
> modern_waveguide makes very natural sounds that are all in tune across the
> spectrum.
>
> I also like sounds that have very high harmonics because they are more
> engaging. I like gbuzz set for lots of high harmonic energy for this reason.
>
> I also like putting things through filters. A nice technique is to play
> several notes with gbuzz as the source, and each note is put through a
> resonant low pass with different cutoffs and Q's.
>
> So what I'm getting is "natural." But this is a pretty limited range. Just
> wondering how I can get beyond this. I mainly use lowpass2.. should I try
> the moog ladder filter UDO for a different sound? Any other filters? Any
> other techniques entirely?
>
> Mike
>

Send bugs reports to the Sourceforge bug trackers
csound6:
            https://sourceforge.net/p/csound/tickets/
csound5:
            https://sourceforge.net/p/csound/bugs/
Discussions of bugs and features can be posted here
To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"

Yes, that would be extremely useful.

Regards,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 9:13 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

A wguide3 would be wonderful. I think we really need a waveguide opcode with true flat group delay and accurate fractional sample length.

Mike

On Thu, Mar 6, 2014 at 6:01 PM, Steven Yi <stevenyi@gmail.com> wrote:

As a side question: I hadn't remembered the modern_waveguide UDO until
this message. I found it in the list archives, posted some time ago.
At the time, Victor wrote about a possible wguide3 opcode but that
never seemed to happen.

Question for Victor: would it be possible to have a wguide3?  Or is
there some other opcode that covers this now?

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

> I'm not very experienced with synthesis so I would like some suggestions for
> new ideas.
>
> My tastes lean toward "natural" sounds, things that could be acoustic
> instruments only they have some kind of little bent that makes them clearly
> electronic. I find myself using waveguides a lot. I use the modern_waveguide
> UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a.
> Karplus-Strong) but critically has flat group delay across all frequencies
> so the harmonics are in tune, and it can handle fractional sample lengths.
> So it makes beautiful tones. For example, just playing pink noise into
> modern_waveguide makes very natural sounds that are all in tune across the
> spectrum.
>
> I also like sounds that have very high harmonics because they are more
> engaging. I like gbuzz set for lots of high harmonic energy for this reason.
>
> I also like putting things through filters. A nice technique is to play
> several notes with gbuzz as the source, and each note is put through a
> resonant low pass with different cutoffs and Q's.
>
> So what I'm getting is "natural." But this is a pretty limited range. Just
> wondering how I can get beyond this. I mainly use lowpass2.. should I try
> the moog ladder filter UDO for a different sound? Any other filters? Any
> other techniques entirely?
>
> Mike
>

Send bugs reports to the Sourceforge bug trackers
csound6:
            https://sourceforge.net/p/csound/tickets/
csound5:
            https://sourceforge.net/p/csound/bugs/
Discussions of bugs and features can be posted here
To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"

After his thesis submission Mark (Pearson) did a post-doc at my Centre at The Australian National University in 1997?. during which time he extended Tao (under SGI's IRIX). It produced beautiful sounds. In those days it was not usable in RT.

Mark married a former student of mine and then seems to have disappeared. I have had no luck in finding him. Emails bounce etc. If any one finds him, I'd be pleased if you could pass on his/my address.

thanks,

David

On 07.03.2014, at 02:45, Michael Gogins <michael.gogins@gmail.com> wrote:

Follow up on Tao: Pearson's thesis on it. http://books.google.com/books/about/Synthesis_of_Organic_Sounds_for_Electroa.html?id=ZCLLHAAACAAJ

Regards,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 8:38 PM, Michael Gogins <michael.gogins@gmail.com> wrote:

These are very good questions in a very difficult subject area. The fact is that the palette of synthesized sounds has been changing more and more slowly over the past decades, indicating a bit of stuckness. The interest in academic computer music DSP people has shifted somewhat to musical information retrieval, emulations of spaces and of old gear, and spatialization, none of which have much relevance to new methods of natural sounding synthesis.

What I suggest in your search for new ideas is to listen to a variety of current synthesized music, including not only "academic", "electroacoustic," and "music N based" music but also high-end commercial, popular music with elements of synthesis (like Beck), "experimental improvised" or "laptop" music, "dance" music, and the "demoscene.". When you hear something you like, bend every effort to find out how they did it. Often you can turn up interviews online in which you can learn something.

Just recently I heard a piece by James Dashow that had some pretty stellar synthesized sounds, some of which are hard to tell whether natural or not, then I found an interview that explained at least some of how he got at least some of the sounds, this is music N all the way:

http://www.jamesdashow.net/download/DashowCMJInterview.pdf

This interview is already 11 years old but it is still very interesting. He's been doing this stuff for decades, and it shows. It's pretty refined.

One key to rich synthesis is modulated delay with feedback in various forms, but I'm sure you already know that. Also a lot of cool sounds are done with granulation, it doesn't always sound like that's what it is.

For books, have a look at Andy Farnell's _Designing Sound_ and its examples, all for Pure Data. There are a bunch of examples showing to how design "natural sounds" such as wind, water, splashing, knocking, etc.

Then here's a mass and spring system for physical modelling synthesis I've been meaning to evaluate, it's moribund but it looked really interesting and may still be buildable: http://taopm.sourceforge.net/. There are a few really good sound examples on the tao site.

Hope this helps,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

I'm not very experienced with synthesis so I would like some suggestions for new ideas.

My tastes lean toward "natural" sounds, things that could be acoustic instruments only they have some kind of little bent that makes them clearly electronic. I find myself using waveguides a lot. I use the modern_waveguide UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a. Karplus-Strong) but critically has flat group delay across all frequencies so the harmonics are in tune, and it can handle fractional sample lengths. So it makes beautiful tones. For example, just playing pink noise into modern_waveguide makes very natural sounds that are all in tune across the spectrum.

I also like sounds that have very high harmonics because they are more engaging. I like gbuzz set for lots of high harmonic energy for this reason.

I also like putting things through filters. A nice technique is to play several notes with gbuzz as the source, and each note is put through a resonant low pass with different cutoffs and Q's.

So what I'm getting is "natural." But this is a pretty limited range. Just wondering how I can get beyond this. I mainly use lowpass2.. should I try the moog ladder filter UDO for a different sound? Any other filters? Any other techniques entirely?

Mike

______________________________________
Prof. Dr. David Worrall
Emerging Audio Research (EAR)
Audio Department
International Audio Laboratories Erlangen
Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 44
Fax      +49 (0) 91 31 / 7 76-20 99
E-Mail: david.worrall@iis.fraunhofer.de
Internet: www.iis.fraunhofer.de 

---

Adjunct Senior Research Fellow

School of Music, Australian National University

david.worrall@anu.edu.au

I suspected that Pearson "disappeared" because his Web trail just stopped, at least as far as making music software is concerned. It is a reasonably common name. I noticed there are about 25 Mark Pearsons on LinkedIn, did you try any of them?

Thanks for the information,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Fri, Mar 7, 2014 at 9:21 AM, David Worrall <david.worrall@iis.fraunhofer.de> wrote:

After his thesis submission Mark (Pearson) did a post-doc at my Centre at The Australian National University in 1997?. during which time he extended Tao (under SGI's IRIX). It produced beautiful sounds. In those days it was not usable in RT.

Mark married a former student of mine and then seems to have disappeared. I have had no luck in finding him. Emails bounce etc. If any one finds him, I'd be pleased if you could pass on his/my address.

thanks,

David

On 07.03.2014, at 02:45, Michael Gogins <michael.gogins@gmail.com> wrote:

Follow up on Tao: Pearson's thesis on it. http://books.google.com/books/about/Synthesis_of_Organic_Sounds_for_Electroa.html?id=ZCLLHAAACAAJ

Regards,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 8:38 PM, Michael Gogins <michael.gogins@gmail.com> wrote:

These are very good questions in a very difficult subject area. The fact is that the palette of synthesized sounds has been changing more and more slowly over the past decades, indicating a bit of stuckness. The interest in academic computer music DSP people has shifted somewhat to musical information retrieval, emulations of spaces and of old gear, and spatialization, none of which have much relevance to new methods of natural sounding synthesis.

What I suggest in your search for new ideas is to listen to a variety of current synthesized music, including not only "academic", "electroacoustic," and "music N based" music but also high-end commercial, popular music with elements of synthesis (like Beck), "experimental improvised" or "laptop" music, "dance" music, and the "demoscene.". When you hear something you like, bend every effort to find out how they did it. Often you can turn up interviews online in which you can learn something.

Just recently I heard a piece by James Dashow that had some pretty stellar synthesized sounds, some of which are hard to tell whether natural or not, then I found an interview that explained at least some of how he got at least some of the sounds, this is music N all the way:

http://www.jamesdashow.net/download/DashowCMJInterview.pdf

This interview is already 11 years old but it is still very interesting. He's been doing this stuff for decades, and it shows. It's pretty refined.

One key to rich synthesis is modulated delay with feedback in various forms, but I'm sure you already know that. Also a lot of cool sounds are done with granulation, it doesn't always sound like that's what it is.

For books, have a look at Andy Farnell's _Designing Sound_ and its examples, all for Pure Data. There are a bunch of examples showing to how design "natural sounds" such as wind, water, splashing, knocking, etc.

Then here's a mass and spring system for physical modelling synthesis I've been meaning to evaluate, it's moribund but it looked really interesting and may still be buildable: http://taopm.sourceforge.net/. There are a few really good sound examples on the tao site.

Hope this helps,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

I'm not very experienced with synthesis so I would like some suggestions for new ideas.

My tastes lean toward "natural" sounds, things that could be acoustic instruments only they have some kind of little bent that makes them clearly electronic. I find myself using waveguides a lot. I use the modern_waveguide UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a. Karplus-Strong) but critically has flat group delay across all frequencies so the harmonics are in tune, and it can handle fractional sample lengths. So it makes beautiful tones. For example, just playing pink noise into modern_waveguide makes very natural sounds that are all in tune across the spectrum.

I also like sounds that have very high harmonics because they are more engaging. I like gbuzz set for lots of high harmonic energy for this reason.

I also like putting things through filters. A nice technique is to play several notes with gbuzz as the source, and each note is put through a resonant low pass with different cutoffs and Q's.

So what I'm getting is "natural." But this is a pretty limited range. Just wondering how I can get beyond this. I mainly use lowpass2.. should I try the moog ladder filter UDO for a different sound? Any other filters? Any other techniques entirely?

Mike

______________________________________
Prof. Dr. David Worrall
Emerging Audio Research (EAR)
Audio Department
International Audio Laboratories Erlangen
Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 44
Fax      +49 (0) 91 31 / 7 76-20 99
E-Mail: david.worrall@iis.fraunhofer.de
Internet: www.iis.fraunhofer.de 

---

Adjunct Senior Research Fellow

School of Music, Australian National University

david.worrall@anu.edu.au

Hello, 

If anyone has any sound clouds or wavs laying around, I (as would others, I'm sure) would love to hear some Tao output!

On Mar 7, 2014, at 10:19 AM, Olivier Bélanger <belangeo@gmail.com> wrote:

Hi,

taopm can be installed on debian via the package manager (for ubuntu, just activate repos for trusty). I just tried it last week, it works very well!

https://launchpad.net/ubuntu/trusty/+source/taopm/1.0-3

Olivier

2014-03-07 9:37 GMT-05:00 Michael Gogins <michael.gogins@gmail.com>:

I suspected that Pearson "disappeared" because his Web trail just stopped, at least as far as making music software is concerned. It is a reasonably common name. I noticed there are about 25 Mark Pearsons on LinkedIn, did you try any of them?

Thanks for the information,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Fri, Mar 7, 2014 at 9:21 AM, David Worrall <david.worrall@iis.fraunhofer.de> wrote:

After his thesis submission Mark (Pearson) did a post-doc at my Centre at The Australian National University in 1997?. during which time he extended Tao (under SGI's IRIX). It produced beautiful sounds. In those days it was not usable in RT.

Mark married a former student of mine and then seems to have disappeared. I have had no luck in finding him. Emails bounce etc. If any one finds him, I'd be pleased if you could pass on his/my address.

thanks,

David

On 07.03.2014, at 02:45, Michael Gogins <michael.gogins@gmail.com> wrote:

Follow up on Tao: Pearson's thesis on it. http://books.google.com/books/about/Synthesis_of_Organic_Sounds_for_Electroa.html?id=ZCLLHAAACAAJ

Regards,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 8:38 PM, Michael Gogins <michael.gogins@gmail.com> wrote:

These are very good questions in a very difficult subject area. The fact is that the palette of synthesized sounds has been changing more and more slowly over the past decades, indicating a bit of stuckness. The interest in academic computer music DSP people has shifted somewhat to musical information retrieval, emulations of spaces and of old gear, and spatialization, none of which have much relevance to new methods of natural sounding synthesis.

What I suggest in your search for new ideas is to listen to a variety of current synthesized music, including not only "academic", "electroacoustic," and "music N based" music but also high-end commercial, popular music with elements of synthesis (like Beck), "experimental improvised" or "laptop" music, "dance" music, and the "demoscene.". When you hear something you like, bend every effort to find out how they did it. Often you can turn up interviews online in which you can learn something.

Just recently I heard a piece by James Dashow that had some pretty stellar synthesized sounds, some of which are hard to tell whether natural or not, then I found an interview that explained at least some of how he got at least some of the sounds, this is music N all the way:

http://www.jamesdashow.net/download/DashowCMJInterview.pdf

This interview is already 11 years old but it is still very interesting. He's been doing this stuff for decades, and it shows. It's pretty refined.

One key to rich synthesis is modulated delay with feedback in various forms, but I'm sure you already know that. Also a lot of cool sounds are done with granulation, it doesn't always sound like that's what it is.

For books, have a look at Andy Farnell's _Designing Sound_ and its examples, all for Pure Data. There are a bunch of examples showing to how design "natural sounds" such as wind, water, splashing, knocking, etc.

Then here's a mass and spring system for physical modelling synthesis I've been meaning to evaluate, it's moribund but it looked really interesting and may still be buildable: http://taopm.sourceforge.net/. There are a few really good sound examples on the tao site.

Hope this helps,

Mike

-----------------------------------------------------

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com> wrote:

I'm not very experienced with synthesis so I would like some suggestions for new ideas.

My tastes lean toward "natural" sounds, things that could be acoustic instruments only they have some kind of little bent that makes them clearly electronic. I find myself using waveguides a lot. I use the modern_waveguide UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a. Karplus-Strong) but critically has flat group delay across all frequencies so the harmonics are in tune, and it can handle fractional sample lengths. So it makes beautiful tones. For example, just playing pink noise into modern_waveguide makes very natural sounds that are all in tune across the spectrum.

I also like sounds that have very high harmonics because they are more engaging. I like gbuzz set for lots of high harmonic energy for this reason.

I also like putting things through filters. A nice technique is to play several notes with gbuzz as the source, and each note is put through a resonant low pass with different cutoffs and Q's.

So what I'm getting is "natural." But this is a pretty limited range. Just wondering how I can get beyond this. I mainly use lowpass2.. should I try the moog ladder filter UDO for a different sound? Any other filters? Any other techniques entirely?

Mike

______________________________________
Prof. Dr. David Worrall
Emerging Audio Research (EAR)
Audio Department
International Audio Laboratories Erlangen
Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 44
Fax      +49 (0) 91 31 / 7 76-20 99
E-Mail: david.worrall@iis.fraunhofer.de
Internet: www.iis.fraunhofer.de 

---

Adjunct Senior Research Fellow

School of Music, Australian National University

david.worrall@anu.edu.au

The UDO Database is in a sort of "read-only" mode at the moment. The
modern_waveguide UDO can be found at:

http://csound.1045644.n5.nabble.com/a-modern-waveguide-built-in-opcode-td1108587.html

On Fri, Mar 7, 2014 at 4:33 AM, Rory Walsh <rorywalsh@ear.ie> wrote:
> The UDO database would also be nice to have. Does anyone have it? Maybe we
> can throw them up somewhere. I've given up on the csounds.com site.
>
>
> On 7 March 2014 02:50, Michael Gogins <michael.gogins@gmail.com> wrote:
>>
>> Yes, that would be extremely useful.

>>
>> Regards,
>> Mike
>>
>>
>> -----------------------------------------------------
>> Michael Gogins
>> Irreducible Productions
>> http://michaelgogins.tumblr.com
>> Michael dot Gogins at gmail dot com
>>
>>

>> On Thu, Mar 6, 2014 at 9:13 PM, Michael Mossey <michaelmossey@gmail.com>
>> wrote:
>>>
>>> A wguide3 would be wonderful. I think we really need a waveguide opcode
>>> with true flat group delay and accurate fractional sample length.
>>>
>>> Mike

>>>
>>>
>>> On Thu, Mar 6, 2014 at 6:01 PM, Steven Yi <stevenyi@gmail.com> wrote:
>>>>
>>>> As a side question: I hadn't remembered the modern_waveguide UDO until
>>>> this message. I found it in the list archives, posted some time ago.
>>>> At the time, Victor wrote about a possible wguide3 opcode but that
>>>> never seemed to happen.
>>>>
>>>> Question for Victor: would it be possible to have a wguide3?  Or is
>>>> there some other opcode that covers this now?
>>>>
>>>> On Thu, Mar 6, 2014 at 7:38 PM, Michael Mossey <michaelmossey@gmail.com>
>>>> wrote:
>>>> > I'm not very experienced with synthesis so I would like some
>>>> > suggestions for
>>>> > new ideas.
>>>> >
>>>> > My tastes lean toward "natural" sounds, things that could be acoustic
>>>> > instruments only they have some kind of little bent that makes them
>>>> > clearly
>>>> > electronic. I find myself using waveguides a lot. I use the
>>>> > modern_waveguide
>>>> > UDO by Victor L (thanks Victor!) because it has a low pass (a.k.a.
>>>> > Karplus-Strong) but critically has flat group delay across all
>>>> > frequencies
>>>> > so the harmonics are in tune, and it can handle fractional sample
>>>> > lengths.
>>>> > So it makes beautiful tones. For example, just playing pink noise into
>>>> > modern_waveguide makes very natural sounds that are all in tune across
>>>> > the
>>>> > spectrum.
>>>> >
>>>> > I also like sounds that have very high harmonics because they are more
>>>> > engaging. I like gbuzz set for lots of high harmonic energy for this
>>>> > reason.
>>>> >
>>>> > I also like putting things through filters. A nice technique is to
>>>> > play
>>>> > several notes with gbuzz as the source, and each note is put through a
>>>> > resonant low pass with different cutoffs and Q's.
>>>> >
>>>> > So what I'm getting is "natural." But this is a pretty limited range.
>>>> > Just
>>>> > wondering how I can get beyond this. I mainly use lowpass2.. should I
>>>> > try
>>>> > the moog ladder filter UDO for a different sound? Any other filters?
>>>> > Any
>>>> > other techniques entirely?
>>>> >
>>>> > Mike
>>>> >
>>>>
>>>>
>>>> Send bugs reports to the Sourceforge bug trackers
>>>> csound6:
>>>>             https://sourceforge.net/p/csound/tickets/
>>>> csound5:
>>>>             https://sourceforge.net/p/csound/bugs/
>>>> Discussions of bugs and features can be posted here
>>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>>>> csound"
>>>>
>>>>
>>>
>>
>


Send bugs reports to the Sourceforge bug trackers
csound6:
            https://sourceforge.net/p/csound/tickets/
csound5:
            https://sourceforge.net/p/csound/bugs/
Discussions of bugs and features can be posted here
To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"