This is an algorithmic generator of sound patterns based on the number 6. The patch a) uses the urn object to generate a list consisting of a random ordering of the six digits 0 to 5, b) uses a metro to bang a counter six times per second in order to count through that list of digits, c) uses those six digits to produce six frequencies representing harmonics 7 through 12 of a fundamental (110 Hz, initially), and d)uses those freque
In order for this patch to work properly, you'll need to first download the attached .zip archive of six short soundfiles, uncompress it, and put the sound files in the Max search path.
You'll also need to download the patch from the example Subpatch for paying sound cues from sflist~. Save it with the name "playsamples.maxpat" in the Max file search path.
This is a subpatch that can be used for playing sound cues from an sflist~ object. It has one inlet and one outlet, and—serving the same purpose—it also has an in object and an out~ object; thus, it can be used either as a normal subpatch or as the content of a poly~ object. It's monophonic, but one could easily adapt it to make a stereo version.
A "ducker" is a system that turns a signal down to 0 when it's below a given threshold. This is also frequently called a "noise gate" in audio engineering, because it acts as a doorway that closes out unwanted low-level ambient noise and lets through only the louder, more desired signal. It's useful for suppressing unwanted low-level audio, such as in a cell phone transmission when the user is not talking, or, more to the point for musical purposes, as in a microphone signal when the musician is not playing.
This example demonstrates an easy setup for creating a testing tone. It has the ability to alter the tone's frequency and amplitude.
When a sound is to one side or the other of us, it arrives at one ear ever-so-slightly before the other. This phenomenon is known as interaural time difference (ITD).
One of the ways we determine where a sound is located is by comparing the sound's intensity in our two ears. A sound that is located to one side of us goes more directly into the ear that's on that side, whereas the sound has to diffract around our head to get to the other ear, so the intensity is usually greater on the side where the sound is located. That distinction is known as interaural intensity difference (IID).
This patch demonstrates the technique of wavetable synthesis: using one cycle of a stored waveform as the wave type for a synthesizer tone. The cycle~ object with no argument produces a cosine wave; however, cycle~ can also refer to a waveform stored in a buffer~, and use that as a wavetable. To do that, you need to create a buffer~, store a waveform in it, and then refer to that buffer~ by creating a cycle~ with the same name.
This example demonstrates how to modulate the playback speed of an audio file. The value in the right inlet of sfplay~ determines the playback rate; 1. is normal speed, 0.5 is half speed, 2.0 is double speed, and so on. The rate can be provided as a continuously changing control signal instead of as a single constant value, allowing us to warp the speed at will. Here we're using a cycle~ object to produce a low-frequency sinusoid over the course of ten seconds (i.e. at the frequency of 0.1 Hz).
This patch demonstrates one way to create a sinusoidal pattern of numbers in Max.