I just found a labyrinth of generative material that may lead to some new discoveries for you. And btw I am interested in this subject too, which is how I found this post and this link you might enjoy...
And THIS is REALLY Cool!! This is what I am aiming to achieve through my studies
I've had Kyma for a few months now. The sound quality is awesome. I have been using it for things like
Adding spacial stereo width on tracks in a song.
Adding chorus to a track in a mix.
Reverb is a breath of fresh air.
I've also added saturation to tracks in a song.
Just the simple use of Kyma has upped my production in my mixes. Yes, I've made ...
A couple of years ago, one of my students created a Max/MSP patch that would read a Twitter feed and would give a live sonification, via an additive/granular synthesis engine. This is along similar lines to what you are talking about. You can find further details on his blog at: http://samharman.com/2011/03/twinthesis-twitter-powered-synthesis/
I think ...
You basically need a software with numerical processing of MIDI input. It's like the next thing to writing a driver, but some software offers very direct manipulation of MIDI input:
MIDIOX, Pd, Logic, Max (mentioned in the comments). You could achieve it with Ableton Live as well, although you would have to jump through some hoops.
To "mute" a track when there's audio coming out of some other track, you can use sidechain compression. Here's how to do it:
Insert a Compressor on the "LIVE KEYS BACKUP" track
Select the "LIVE KEYS" track as the sidechain input
Set Ratio to the maximum
Set Threshold to the minimum
If you now have a clip playing on the "LIVE KEYS BACKUP" track and you ...
[sprintf set set %s %s %s] might also get you what you want.
If you're new, it's best to start with the tutorials that are built into Max.
Read my points on starting with max here. As Bit Depth said, the Cycling'74 forum is the place to go.
That said, for your actual question you should look into using the [poly~] object.
Andy Farnell has a fantastic book called Designing Sound, which details theories of designing procedural sound effects, with methods in Pure Data. Here is a great quote from his practical on Electricity:
The sound of a spark in an anechoic chamber is almost an ideal impulse
(which is why spark gaps are used to do impulse captures), so the
sound of the ...
Karplus-Strong synthesis is awesome! Really great way to get a semi realistic-feeling yet synthy pluck, modulating the delay time gives some super weird and cool effects. I use it a lot in SuperCollider, I guess it's theoretically possible with analog gear but it requires a very precise delay/feedback loop to get accurate pitches that the digital world seems ...
Although I'm not a synth guru, I think this is a really cool synth for many reasons. First it has a spectral unit to control the timbre of the sound. The "rand" object allows you to control the timbre to get say a sharp sound at 20,000, or a smooth sound at 10. Second, it has an adsr component you can use to control the sound envelope. I put a lowpass filter ...
The underlying math is
out=cos(phi)*signal_1 + sin(phi)*signal_2
The reason why this is used is due to the fact that, although we deal with the amplitudes of signals, volume is related to the (mean) power, i.e. magnitude squared, of the signal. Trigonometric functions are used here since sin^2 phi + cos^2 phi =1 -- i.e. the sum of the squares of the ...
I was in La Porge in France last week and there was an almighty storm which I was lucky enough to record for a couple of hours, I've not listened back to the recordings yet let alone edited, but would be happy to share them with you if you are interested, you might be able to get something interesting out if it.