This example allows a choice of four different modes of intensity panning, and two ways to specify the rate of panning change. The choice of four possible pannings is: static centered, left-to-right sudden switching, left-to-right gradual gliding, and random gliding. The rate of change can be controlled by sliders, either in Hertz (changes per second) or note values (based on the current transport tempo).
In classic granular synthesis, grains are very short windowed segments of sound, normally from 5 ms to 100 ms in length. A stream of sound grains be spaced at exactly the same time interval as the grain length, or at some greater interval of time. The spacing can even be randomized (some random time interval greater than or equal to the grain length). A single stream of grains is all you can do with a single groove~ object.
The "chorus" effect is commonly used to enrich a sound. The effect gets its name from the way that a chorus of people singing or speaking in unison sounds different from a single person. By extension, a group of violins sounds different from a single violin (even though we don't call a violin section a "chorus"), and the same effect even takes place inside a piano because most of the hammers strike two or three strings tuned in unison rather than a single string.
This example is from my Algorithmic Composition blog, and is explained there.
This patch uses the table object to calculate a probablility distribution to make the short notes occur much more often than the long notes.
Each MSP object (each object that has signal input and/or output) is always producing signal as long as audio is turned on. For example, signal generators like cycle~ (sinusoidal wave generator) and saw~ (band-limited sawtooth wave generator) are always producing a full-amplitude wave. You control the amplitude of that wave with multiplication, using *~ or some other object that performs a multiplication internally (such as gain~).
This example shows how to control the amplitude of multiple signals with the matrix~ object, instead of with line~ and *~ objects. In effect, matrix~ has the linear interpolation and multiplication capabilities of those objects embedded within it.
This example uses the subpatch from "A useful subpatch for mixing and balancing two sounds", so it requires that you download the file mix~.maxpat and save the file, with that same name, somewhere in the Max file search path.