[chuck-users] report on my first livecoding gig
signal.automatique at gmail.com
Sun Jun 3 13:19:08 EDT 2007
On 6/2/07, Loscha <loscha at gmail.com> wrote:
> I'd love to see your code, Kassan.
Cool, I'll make a nice version of it tomorow (dog-tirered now) and share
I found that varying the Blit Saw, I was able to get somewhere in the
> range of timbre I wanted for trying to do a TB-303 type device. I
> wasn't too successful, but, I think that this is where one would start
> if you were to be a bit more serious about it. It's a future idea for
> me to work on. It was interesting to use Blit Saw and Square waves to
> test the upper limits of whatever speaker system I was using, and
> headphone types and such (and my own hearing, also!).
I think they are great. Varying harmonics is a nice fresh way of modulating
timbre and of cource as long as you keep the number down there won't be any
aliassing so that's a nice free-be.
I need to experiment with the waveshaping functions to get a
> distortion that I am happy with. I know people have done a lot of work
> with this in CSound, but, the type of distortion I like (the Boss
> Metal Zone) would perhaps be better acheived band-splitting the
> signal, and then distorting and then combining again. I haven't
> attempted this yet. I know the *theory* of what I want to do, and I
> own the Metal Zone service manual. Maybe I'll wait for ChucK version
> 6.2 when I can input specific electronic components :P
I've been meaning to try wave-shaping using that new function meant for
shaping the curve of input signals. that one should be capable of some nice
stuff though the CPU load at audio-rate might be high.
There's another way that I've been meaning to try to implement but the
principle is by a friend of mine and I need to check with him before writing
publicly about it. Either way that's a nice field to do some ChucKing in,
You're probably aware of how a single impulse => highly resonant filter
> is exactly how many voices on analog drum synths work. I suppose I
> should get around to having a go at making a drum synth that performed
> like that. Randomizing the "components" at startup might prove useful
> in humanizing the tone a little bit, as well as adding a low noise
> floor, to alter the zero crossing stability whotzit.
Yeah, I'm aware of that.... Actually I tend to work with that principle a
lot in my music, I'm realy into things like parametric EQ's with extreme
settings. You can do a lot in the way of intonation by controlling the exact
kind of impulse used. I did some pieces where I excited resonators using
traditional drum-kits. It's quite amusing how highhats can turn into ways of
bowing a "violin" that way.
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