Pure Data frequency domain filter patch
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- Опубліковано 7 сер 2024
- Get it here: acreil.wordpress.com/2020/01/...
This is part of the patch I used for my last video. It works in both Purr Data and Pure Data Vanilla (although it crashed Vanilla on macOS when I tried it). Now you can make real simulated wood grain spectrograms too!
The audio quality here isn't great, and there are some clumsy edits where I re-ordered some of the parts. I don't really care.
Reference for weighted overlap add: ccrma.stanford.edu/~jos/sasp/...
The Coltrane of Pd.
never seen filtering like this. post more of these synthesis explanation videos
I'd like to, but it's kind of a pain.
@@acreil life is pain and advanced filtering synthesis is a priority
@@vojkofau I just generally prefer to spend my pain working on music.
Hi Scott, nice to see you in video.. :-) Thanks for the patch, that's very generous from your side.
The first thing I did with tehe patch was replacing the oscillators with white noise, worth the experiment...
Try speech, music, drum patterns, etc. too.
thank you for sharing this. things like this help make life better.
this is fantastic thank you. Understanding FFT maths has always felt a little(!) out of reach for me, but seeing what you're doing here helps immensely
It's mostly not that complicated. If you can get a basic weighted overlap add thing working, and maybe separately process the magnitude and phase, you can pretty much just screw around with it and get lots of weird effects. Doing something more rigorous (like cepstral processing or a phase vocoder or whatever) is a bit harder, but you don't necessarily have to do that to get interesting results. You can get something similar to paulstretch just by using a very large frame size (131072 or so) and randomizing the phase.
@@acreil Good to know. I jusst worry about blowing the speakers due to the dynamic ranges :) Yep Martin Brinkmann did something like that on one of his instruments. [small_paul1] it's called. Cheers
@@SiMills If you're doing DSP stuff it's kind of inevitable that you're going to occasionally mess something up and make the patch blow up into horrible noise.
@@acreil could you kindly explain where the weighted overlap stage is in this? Is it in the upper right corner providing the window via some kinda cos~ manipulation for the windowing? I looked at that link and my newb expectation would be that it happens at an output stage, literally....
impressive work! i need to learn more about fft applications in pure data
Thanks for the info on the patch. You're very talented! I wish you'd make a Patreon and start recording more tutorials or explanations. I know you'll get a lot of attention if you do.
🤯👽🤟 its wonderfull ! thanks for the patch
the highlight was your face reveal !
So COOOOOOOOL
Fascinating, thanks!
Nice video :)
Sounds a lot like a good old phasor.
Nice video just started learning PD again, maybe this time I will stay with it
finally i can see who is behind acreil. btw i knew you were using windows. you are to cool to use a mac!
Thank you synth master.
Thank you Scott rly rly
3:33 nice oscilloscope footage!
edit: nvm those are frequency domain graphs I suppose! I appreciate the morphing Bessel functions all the same.
"Any technology blah blah blah is indistinguishable from magic"
nah this is magic.
You sir have created the *NECRONOMICON* of pd patches.
Am i the only one who hears the insane clowns??
Hello Acreil! I tried looking for your e-mail but didn't find it so I decided the best way to reach you would probably be through a comment. I stumbled upon your content while researching utilizing unconventional tunings beyond a theoretical level. What I'm wondering is how you go about composing on these tunings - more on the practical level. I'm keen on achieving the perfect pitch especially on huge chords - and on equal temperament this feels like a stretch so I'm wondering on what would your take be on achieving this!
What I think my options could be:
Either generate 12-step tuning maps for each individual chord that's in a different key and use a new VST instance for each one. Or make a extremely fine tuning file that could accommodate writing all the chords in different keys in one single instrument instance.
Which method do you prefer/utilize?
Always love your output. Office toilet filter, lol.
I'm undecided as to whether I want to keep "Office Toilet" as the final title or call it "Aphedron Emanation".
@@acreil Basically the same thing, right?
@@robertsyrett1992 Yeah, plus I really like the word "aphedron" and probably won't have a good opportunity to use it anywhere else.
@@acreil I feel the same way about the words like hypnagogia and somnambulist.
@@robertsyrett1992 Those are too common, you have to go for the tractrix azeotrope boustrophedon epanorthosis aperient calexium oubliette.
Ah, your real name is Bubba! (pronounced "Scott")
Einstein at the patent office
@@AlanKroeger um… wut?
I just want to know if it's too late to have a breakthrough like ol' Albert. We have the same birthdate. I'm 35 now…
titan!
I dont really know about the compositions and maybe the music but the hell how he talks and writes
Is this your face reveal?
I knew what I looked like already.
is that the dattoro reverb
No, it's my own design.
@@acreil great work
Hey Acreil! I listened to Aleatoric Aubades going to sleep last night in my Focal earbuds; it was beautifully weird and deeply meditative. I'm doing electronic music myself, and using the laptop as a genuine instrument is something I think a lot about. So, looking to environments like Pure Data, Max/MSP, SuperCollider, etc.. I'm just wondering what you think is the best feature of Pure Data that the others can't do? Sorry for ranting, and thanks for the music - I love it!
I'd just use Max/MSP. The main advantage of Pure Data is portability, so you can use it in a phone app or game or something.