Very small iteration. Just trying to make it sound a bit more interesting. Wont make a sound when you click play. You haev to move the sliders a bit.
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Here’s a lil experiment with additive synthesis in Heavy/PureData.
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Running pd in a browser. Woei! Remember last year’s #dspatchaday challenges? Well now they can become interactive.
Today I decided to play around with Andy Farnell’s rain on a window work. It is one of the better ones I have found so far in his book “Designing Sound”. I tried to see if could make the scene a bit bigger by adding some elemetns. then i started to just jam a bit randomly with the parameters. See what kind of juice was to be found. Good fun tweak session and got some interesting ideas from it. Worth a revisit some day.
Playing around with FM some more. In this case creating wood, metal and “various” type impact sounds. It is interesting to combine waveshaping with FM because it seems to be really easy to add noise to the transient of the sound without detriment to the tail of the sound. Take this patch to have some starting points.
Today my son Abel plays a big role. Olga, my partner, has supported me tremendously throughout and she asked me to make sure Abel was part of the patch a day. Of course not something I had to think long about. I recorded him all the time for him to listen back to his first time in life later. Actually when he was born I had a recorder running in the background. So I’ve been recording him since his first breath and cry. These days, almost a year and half into his life, he is a wonderful source of sound. Laughter of course but a new utterings everyday.
When he drops something, whether its accidental or not he says “ohoh” one of his first words.
Oh Friday. Playing around a bit with a bouncing ball patch from Andy Farnell’s book Designing Sound. Added some randomization, added some movement. Then created whole bunch of them at the same time. Not the most interesting sound. But it shows an interesting problem we have with randomisation. You always have to seed it, have some kind of equilibrium yet not to sound predictable and repeated. Some systems take some time before they grow into something unique. In games case, you want that separation from the start, yet you also want control. It is a difficult balance to strike, a sound that does not sound repetitive but also works predictably. It quickly goes one way or the other. In games you need to context to judge that. There is no way to judge repetitiveness outside of context. That iss why a gameaudio toolchain needs to get you into the game as quickly as possible. Together with Andreas Varga I presented Guerrilla’s tool chain at this years GDC in San Francisco. Which offers such a workflow. Anyways, I digress. Context is everything, yet in this series, there is no real context. It is more like a performance. What can I do by time boxing myself severely and by adding the pressure of having to “ship” everyday. Lets call this a prelude to a post I plan to write once #dspatchaday is over.
Today’s setup wasn’t really about pd. The heart was a metal slinky. Addded to it a small attachable speaker and a Jez Riley French contact microphone. So, it was this spring reverb feedback experiment. I hadnt done this setup before so it toke some time to get a sweetspot of feedback and intersting patterns to emerge. Tried various appraoches where i used it basically as an odd reverb. Try at home though