This area contains various information on patches for Cycling-74 Max/MSP/Jitter. Please see the Metamusic area for more information on prior audio designs. Some of these are also described as projects and tools for Cycling'74 on its website, http://cycling74.com.
This Max object provides a thumbnail of the current pitch tracking that, when clicked, opens a window for fine-tune control. The tracking may be disabled overall providing a uniform shift; or adjusted with one breakpoint with linear or adjustable curvature above and below the breakpoint.
This cycling74 Max patch generates chords from an on-screen keyboard or MIDI, with dynamic voice allocation and transposition, key, scale, and velocity remapping. When the note is turned off, the other notes in the generated chord are turned off. The number of active generated notes can be changed at any time.
There's a number of scale remappers for Max. This one is optimized for real-time performance. It prebuilds 160 pitch remap lists during load. Subsequently, only one lookup operation on the selected pitch, key, and transposition is required during performance.
Polyvoice 3 is a Max 7 object for managing polyphony. While Max has its own polyphonic management objects, there's a number of reasons you might wish to manage polyphony yourself. The first and most obvious is that you can then create a display which shows the actual playing notes. The demonstration patch shows, for example, if you click and drag across the keyboard, the older notes turn themselves off automatically. Also, you can change the maximum number of playing notes dynamically, which is even useful as a performance tool.
After a long struggle with this problem, and observing no conclusive solution in many posts on both Ableton and Cycling74 forums, this is probably the beginning of another debate, but here at least is a solution that apparently works.
Glitch art refers to the use of audio signals and audio effects to modify images. The Cycling74 BEAP modular synthesizer system is particularly suited to glitching. This article provides a prototype for the first glitch modular system in Max7. This is very advantages for glitch art, because numerous audio modules are already available in BEAP for waveform generation, filtering, and effects; the results can be viewed in real time; the modular system is openly extensible to support many artistic variants; and modules can be customized for unique results.
This oscillator has 5,504 individual wave cycles, organized as 128 smoothly morphing waves, in 43 sets. The design is very simple, reading in a single audio file at initialization (included) that contains all the waves in continuous and contiguous segments. A gen~ object supports morphing between any wave in each set, and between any set, to eliminate clicks from wave discontinuities.
The 43 morphing sets include harmonic shapings, filter sweeps, vowel formants, and randomized loops (please note that the loops are for individual wave cycles, not for looper apps).
Recent advances in Efficient Polynomial Transition Region (EPTR) algorithms provide remarkable performance and quality. Here is a new EPTR pulse oscillator with variable pulse width, FM, and sync. It offers exceptionally well-defined harmonic bands, and low noise between them, providing astonishingly pure square waves that closely resemble vintage analog hardware, with extended frequency response up to MIDI F7 at 44.1kHz and MIDI F8 at 96 kHz. Here also is a unique design that improves the quality of sawtooth and variable-width triangle waves.
Godel 2 includes a standard 2-oscillator FM subtractive synthesis engine, built entirely in gen~, with Yofiel's standard additional features such as multiple tracking modes, modulation matrix, and effects. The Godel arpeggiator plays notes in the same order played, with chords added during real-time play and/or to the arpeggiation at variable intervals.The polyphonic arpeggiation sequence is saved with the preset.
This is a gen~ implementation of the 2/4-pole mixing state-variable filter with variable saturation, based on the core filter implementation in the 2-Osc instrument for Reaktor 5.9. Resonance is not gain compensated at higher Q values.
First, here is a standard audio limiter. which clamps output on signals over unity gain. it has 100ms sampling response, and a 5ms integrator on the gain control signal to prevent clicks when it adjusts the output volume.
An extension to the 7-segment GEN envelope example providing retrigger and consistent exponential shaping of each segment slope across different duration values. The retrigger occurs when the envelope is already on and it receives a new gate-on signal. A brief release tapers the prior envelope to 0 over 5 milliseconds, to prevent clicking, before starting the new envelope afresh.
A dual-channel version of Polyvoice 2, with a split keyboard and two synth preset panels, is now prototyped in Ula 1.2. I learned quite a bit about resets while making this, so I'll post some details about it over the next week.
Polyvoice 2.0 is a complete, multichannel, polyphonic voice controller, supporting multiple channels inside a single poly~ object. With it, each voice in the poly~ object can receive different channel messages, in the same way as in multichannel MIDI keyboards and GMIDI 1.0 instruments. Any channel can play any number of voices in a single poly~ object. Each note issued to the poly~ object can make a different sound, simply by sending it to a different channel.
TOI is a harmonic delay with two integrated VST client interfaces. Quality harmonization is CPU intensive, so it runs as a standalone application. It is currently compiled for Win32 and has completed beta one testing. Yofiel seeks established US companies for code integration. The UI and controls are entirely flexible and will be modified to the partner's requirements.