We have added it in case you would like to load a long audio sample (> 2 min) in the buffer you are playing. Actually, PosM stands for ‘Position Main Control’. You may have noticed an horizontal fader called ‘PosM’ just below the main multiball. activating voices) and to control the amplitude of each voice. We are going to use this parameter to trigger the granulation (i.e. In addition to x and y values, the multiball object provides a z output that corresponds to the brightness of the balls. You can also set the attack time of the balls, that is the duration of their apparition, as well as the sustain level. Then, they will smoothly evaporate accordingly to the duration you specified in the ‘release’ field of the Multiball ‘properties’ window. That means that balls will be created when you touch the area and will ‘stay alive’ until you release them. Note that the behavior is set on ‘ephemeral’ mode. Since our synthetizer can deal five polyphony voices, let’s limitate the number of balls to 5. We will control intuitively the ‘time exploration’, by mapping X axys position to the grain, as well as the pitch modification on the Y axys.Īfter having created the ‘GranCtl’ (for Granular Control) Multiball object, we have to set up its properties. Therefore, we will naturally use a Multiball object as the central piece of our interface. The microsound exploration made possible by the granular synthesis is typical of the kind of applications for which a bi-dimensional control should be relevant. You can also dynamically choose the sample you want to play.
The grains size, their position within the sample as well as the pitch and the amplitude of each voice can be adjusted individually. To do so, just drag and drop sound files directly to the waveform display corresponding to each ‘buffer’ of the bank. You can load a bank of up to 16 audio samples to be ‘granularized’. Each voice is comprised of eight sound ‘grains’.
#Granular synthesis max msp Patch#
The Max/MSP patch shown below is a 5 voices polyphonic and multi-timbral granular synthetizer. The last part of this issue might also be regarded as a polyphonic mapping tutorial for Max/MSP users. This tutorial is about to introduce you to an intuitive performance instrument which associates a simple polyphonic granular synthetizer made with Max/MSP and an appealing Lemur interface. Evidence is that conventionnal controllers comprised of knobs and faders are frustrating and under-developed when it comes to ‘perform’ granular synthesis in real-time. The main disadvantage of granular synthesizers is that they come along with a great number of parameters to deal with. Among other great applications, the granularisation is capable of ‘freezing’ the sound as though the time were suspended, and of exploring audio samples at a microscopical scale. Indeed, from randomly generated soundscapes to accurate sample transformations, this powerfull algorithm enables to create an infinite range of unprecedented sound textures.
#Granular synthesis max msp professional#
Over the years, Granular Synthesis has become one of the most popular sound processing techniques, enjoyed as well by professional sound designers, contemporary music composers as by laptop music performers. Place : “A stratified approach for sound spatialization” Proceedings of The 6th Sound and Music Computing Conference, 2009, 23-25 July, Porto.Workshop Templateslist Id Granular » jazz Mutant Pottier: “GMU, A Flexible Granular Synthesis Environnement In Max/MSP”, Proceedings of the Sound and Music Computing Conference, Salerno (Italia), 2005. Pottier: “New Sound Decomposition Method Applied To Granular Synthesis”, Proceedings of the International Computer Music Conference, Barcelona, 2005. Bascou: “Adaptive Spatialization and Scripting Capabilities in the Spatial Trajectory Editor Holo-Edit” Proceedings of The 7th Sound and Music Computing Conference, 2010, 21-24 July, Barcelona. Bascou: “HoloPad: an original instrument for multi-touch control of sound spatialization based on a two-stage DBAP” Proceedings of The 10th International Symposium on Computer Music Multidisciplinary Research CMMR, 2013, 15-18 October, Marseille. Lauriere: “The problem of musical gesture continuation and a baseline system” Proceedings fo ICMC, 2016, Utrecht. RESPIRE-RACHEL - Electronic duo with Pierre Pulisciano > PublicationsĬ.
ANIMATED GRAPHICAL SCORES with Sebastien Roux - Algorithmic Score Generation for Instrumental ensemble >.ONLY ONE OF MANY with Sebastien Roux - Algorithmic synthesis and composition for dance >.CONCERT SYMPATIQUE MONDIAL with Sabrina Issa - Spatialized streaming open microphone network eco-system >.CHOEUR TACTIL with Natacha Muslera - Vocal eco system with a robot >.
ROADMUSIC with Peter Sinclair - Generative music for the drive >.I’m a independant composer, computer music designer and researcher based in Marseille France.