Miller Puckette

• University of California, San Diego

A method for acoustic beamfonning filter generation may be provided. Applying eigen decomposition to generate a matrix of eigenvectors and a matrix of eigenvalues to solve a pseudoinverse of a matrix of transfer functions. Substituting any eigen-values in the matrix of eigenvalues that are less than a value of a gain control parameter with the valu...

Document Thumbnail The ever-improving immersive sound regeneration techniques have created an entire branch of novel audio signal processing techniques and 3D audio playback systems, each implemented for a specific purpose. The wide area of application desires specific features requiring a suitable recreation sound field method. The limitations of...

This work presents an extension to the pressure-matching beamforming method (PMM) that’s well-suited for binaural sound field control. The method aims to improve performance at dark points, locations relative to the array where sound pressure is minimized; without producing noticeable artifacts at bright points, locations where acoustic interferenc...

This article describes the use of second-order all-pass filters as components in a feedback network, with parameters made time varying to enable effects such as phase distortion in a generative audio system. The term "audio" is used here to distinguish from generative "music" systems, emphasizing the strong coupling between processes governing the...

This work builds upon existing work in which second-order allpass filters are used in a feedback network, with parameters made time-varying to enable effects such as phase distortion in a generative audio system; the term " audio " is used here to distinguish from generative " music " systems, emphasizing the strong coupling between processes gover...

An electronic musical percussion instrument is described which can be played by tapping or otherwise playing on a small physical object, whose vibrations are picked up and used to activate the virtual one. To do this, a ceramic tile or other small rigid object is attached to a contact microphone. Any resonances of the physical system are filtered o...

A new class of techniques is explored for controlling MU-SIC N or Max/MSP/pd instruments directly from the sound of a monophonic instrument (or separately acquired inputs from a polyphonic instrument). The instantaneous phase and magnitude of the input signal are used in place of pha-sors and envelope generators. Several such instruments are descri...

The variety of possible scenarios in which some form of networking intersects with musical performance is so great that almost any generalization will fail. The exception may be that some statements about media and space, which already seem justified from experience with purely local media performance, can also be applied to networked ones.

A new pdõbject has been added to Pd (version 0.42) to al-low users to embed separate Pd processes inside each other, so that the OS can schedule the processes on separate CPUs. This paper discusses the design of p in the context of a gen-eral reflection on real-time media computation.

This text serves as an introduction to a problem facing the field of computer music. Multi-core and many-core personal and mobile computers will play a major role in the future of audio and music computation, but it is far from clear how that future will evolve. The hope is that this panel will shed some insight concerning the path to our parallel...

This is the first book to develop both the theory and the practice of synthesizing musical sounds using computers. Each chapter starts with a theoretical description of one technique or problem area and ends with a series of working examples (over 100 in all), covering a wide range of applications. A unifying approach is taken throughout; chapter t...

Now that it's easy to get multiple channels of sound into and out of a computer with pretty low through- put latency (thanks partly to the well-designed linux operating system), an obvious and attractive applica- tion is signal-processing an electric guitar separately string by string. This permits a wide variety of non- linear processes which, if...

FFT-based filters find wide use in both live and 'tape' elec-tronic music. Here an attempt is made to develop straightfor-ward guidelines for choosing parameters such as window size and overlap in order to obtain desired time and frequency res-olution and minimize artifacts. As an application, filters de-rived from other sound sources ("FFT vocoder...

A classic piece of computer music by Charles Dodge is stud- ied by making an approximate regeneration using the phase- bashed packet synthesis technique. The result is available as part of the Pd Repertory Project.

Many techniques have been proposed for synthesiz- ing the sung or spoken voice; they generally fall into two classes. First, the purely synthetic techniques (FM, FOF, PAF, ...) make sounds with specified formant frequencies, bandwidths, and amplitudes. Second, the sample-based methods (LPC, Vocoders, PSOLA, ...) reconstruct sounds from pre-recorded...

This paper describes our explorations of sonic display with HRTF filters. While the quality of HRTF filters usually strong ly affects the accuracy of sound source localization, an awareness of the spatial trajectory patterns of the source sound materia ls in such binaural sound displays is particularly promoted. In the exper- iments, with different...

The possibility is explored of controlling synthesis using an instrumental or other sound source, not by trying to recreate the time?varying timbre of the musician?s sound exactly, but instead by making the output sound reflect changes in the input, in a way a musician can control in order to produce an interesting stream of synthetic sound. First...

We explore the technique of controlling synthesis using an in- strumental or other sound source. The range of spectra avail- able from the sound source, and also that available from the synthesis technique, are estimated and the first is mapped to the second. Suitable synthesis parameters for the synthesis algorithms are found by searching a databa...

In the ecology of human culture, unsolved problems play a role that is even more essential than that of solutions. Although the solutions found give a fleld its legitimacy, it is the problems that give it life. With this in mind, I'll describe what I think of as the central problem I'm struggling with today, which has perhaps been the main motivati...

An overview of the Max paradigm, which can described as a way of combining pre-designed building blocks into configurations useful for real-time computer music performance, is presented. It includes a protocol for scheduling control- and audio-rate computations, an approach to modularization and component intercommunication, and a graphical represe...

The original idea in developing Pd (?) was to make a real-time computer music performance environment like Max, but somehow to include also a facility for making computer music scores with user-specifiable graphical representations. This idea has important precedents in Animal (?) and SSSP (?). An even ear- lier class of precedents lies in the rich...

We describe here our efforts to make it easier to per- form certain well-known pieces from the live elec- tronic music repertory, without resorting to special hardware or proprietary software. We hope that these realizations of the electronic parts of the pieces will be longer-lasting than previous realizations have been, and that they will make it...

A uni ed framework is developed in which to compare several techniques for synthesizing sounds with desired spectra, using AM, FM, waveshaping, and pulse width modulation.

A unified framework is developed in which to compare several techniques for synthesizing sounds with de- sired spectra, using AM, FM, waveshaping, and pulse width modulation.

Introduction The Pd program [1]; [2] has been under development for about a year and a half. At the same time, Mark Danks has been developing Gem [3], a real-time graphical synthesis/processing/rendering environment which runs in concert with Pd. The goals of the Pd and Gem development efforts can be summarized as: ffl a real-time patchable environ...

Two "objects," which run under Max/MSP or Pd, do different kinds of real-time analysis of musical sounds. Fiddle is a monophonic or polyphonic maximum-likelihood pitch detector similar to Rabiner's, which can also be used to obtain a raw list of a signal's sinusoidal components. Bonk does a bounded-Q analysis of an incoming sound to detect onsets o...

While finished peices of music have often relied on score following using the flute, clarinet, trumpet, violin, and piano, little has been written or performed using the sung voice. Consequently, the special opportunities offered by combining the live, sung voice with state-of-the-art electronics remain largely unexplored. This paper describes the...

nd to its importance to the musicmaking process. It exists if only because musicians think it exists; that's enough if it changes the way they play music. To make live music with the hypothetical Computer Music Workstation of the first paragraph we must make it work in real time: connect one or more gestural input devices to it, compute each sample...

The phase vocoder is widely used to provide high-fidelity time stretching or contraction of audio signals such as speech or monophonic musical passages. Two problems bedevil the reconstructive phase of this technique. First, the frequency estimate is usually multi-valued and one does not know how to choose which of the possible frequencies given by...

reality, and to its importance to the musicmaking process. It exists if only because musicians think it exists; that's enough if it changes the way they play music. To make live music with the hypothetical Computer Music Workstation of the first paragraph we must make it work in real time: connect one or more gestural input devices to it, compute e...

The phase vocoder is a well-known technique for dividing an audio signal into time-varying sinusoidal components and estimating their frequencies and amplitudes. The accuracy of the frequency estimates is studied here by predicting, and then measuring experimentally, the magnitude of errors due to two factors: (1) interference between different com...

The phase vocoder is widely used to provide high-fidelity time stretching or contraction of audio signals such as speech or monophonic musical passages. Two problems bedevil the reconstructive phase of this technique. First, the frequency estimate is usually multi-valued and one does not know how to choose which of the possible frequencies given by...

An audio synthesis technique, `phase-aligned formant synthesis,' is presented which is aimed at real-time musical applications. A desired sound is specified in terms of one or several time-varying formants, each with specified center frequencies, bandwidths, and amplitudes. The sound produced may be periodic or noisy. The relative merits of other k...

cote interne IRCAM: Dechelle94a

The constant Q transform described recently [J. C. Brown and M. S. Puckette, ''An efficient algorithm for the calculation of a constant Q transform,'' J. Acoust. Soc. Am. 92, 2698-2701 (1992)] has been adapted so that it is suitable for tracking the fundamental frequency of extremely rapid musical passages. For this purpose the calculation describe...

A new paradigm is proposed which overcomes certain shortcomings inour current models of performer/computer interaction. The "StandardModel", in which the computer passively waits for performer input canbe extended to include closed-loop behavior, both stable and unstable.In the time range typified by the muscular and auditory subsystems, theexisten...

An efficient method of transforming a discrete Fourier transform (DFT) into a constant Q transform, where Q is the ratio of center frequency to bandwidth, has been devised. This method involves the calculation of kernels that are then applied to each subsequent DFT. Only a few multiples are involved in the calculation of each component of the const...

This demo shows the prototyping environment of the Ircam Signal Processing Workstation. The environment is oriented toward rapid prototyping of DSP and Musical applications.

Score following was first presented at the 1984 ICMC, independently, by Barry Vercoe and Roger Dannenburg. By 1987, IRCAM was incorporating score following in concert productions. To date, ten IRCAM pieces have relied on score following to synchronize live electronics with flute, clarinet, percussion, and piano. We noticed quickly that algorithms w...

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cote interne IRCAM: Lindemann91a

During the past three years IRCAM has developed the IRCAM Musical Workstation (IMW). Recently we have begun work on musical tools and the realization of music with the system. Miller Puckette has written a version of MAX for the IMW which includes signal processing objects, as well as the standard objects found in the Macintosh version of MAX (incl...

cote interne IRCAM: Viara90a

The IRCAM Signal Processing Workstation (ISPW) is a rapid prototyping environment for real-time signal and event processing. The principal components of the ISPW described in this paper are a high-speed calculation engine, a real-time operating system running on this engine, and a tool for creating dynamic graphic user interfaces for applications r...

A technique for computer music accompaniment of human instrument players is described, which emphasizes the use of control and sound information from the player to affect the computer's response. The intensities, microtuning, or timbre of certain notes can become parameters in sound synthesis, or the sounds themselves can be transformed by the comp...

A method of calculating an autocorrelation function with extremely narrow peaks is described. This is done by including terms in the autocorrelation expression corresponding to delays at 2 tau, 3 tau, etc., in addition to the usual term with delay tau. Implications in the frequency domain are explored. Graphs of this autocorrelation function for a...

This paper describes how MAX has been extended on the NeXT to do signal as well as control computations. Since MAX as a control environment has already been described elsewhere, here we will offer only an outline of its control aspect as background for the description of its signal processing extensions.

A new software system, called Pure Data, is in the early stages of development. Its design attempts to remedy some of the deficiencies of the Max program while preserving its strengths. The most important weakness of Max is the difficulty of maintaining compound data structures of the type that might arise when analyzing and resynthesizing sounds o...

This paper describes FTS and how it interacts with application software running on the host.

Electronic music constantly uses transformations of functions of time. Some frequently-used mathemat- ical operations are described, with an eye to their effects on sound spectra and possible musical appli- cations.

The field of computer music can be thought of as having two fundamental branches, one concerned with the manipulation of musical sounds, and the other concerned with symbolic representations of mu-sic. The two are iconized by Max Mathews's MU-SIC program and Lejaren Hiller's ILIAC Suite, both of 1957, although both have important antecedents. The t...

Thesis (Ph. D.)--Harvard University, 1986. Includes bibliographical references (leaves 62-63). Microfiche. s