The third issue in September
The publisher : Shigeto Wada
[email protected]
http:// www.geocities.com/Vienna/Studio/5919/
The third issue in September
The publisher : Shigeto Wada
[email protected]
http:// www.geocities.com/Vienna/Studio/5919/
Contents
Basic
usage of MAX (3)
Q&A
"Serial
Pincermovement" ~An example of passive composition~ (3)
At
the starting of MAX i MUM
What
MAX is.
The
imprint
Next issue will be on 10th October.
You
are able to download
this magazine from hear
to read after disconnecting.
' MAX i MUM ...E version... The third issue in September '
Basic
usage of MAX (3)
So today, (there are no connection with context,) the main topic is a patch simulating echo often used in Karaoke.
Echo means repeating sounds. Echo could happen by quintuplets mistimed speak (^_^;)
For example, a chorus is music which shows great
effect of Echo. It gives sound expanse by a lot of people sing the same
melody and words but timing and pitch is merely off the timing. This is
the effect which comes from imperfection. The sing done by some professional
singers, especially religious music professionals, sounds like only one
person sings a song because there are no time lag and inharmonic. We can't
recognise different sounds of each singer.
Echo is also by a literal echo and sounding in tunnel.
The echo sound is bit late for your sound. Moreover the reverberatory pitch
is slightly lower than original pitch because sound wave power is partly
reduced by tunnels etc. Frisky sound may be heard.
Therefore, echo effect can earn expansive sounds,
frisky sound, whirling sound, etc. by slightly inharmonic sounds and a
little timelag of starting.
And echo is categorized as reverb (sounds like you
are in a gymnasium or a concert hall) or chorus (sounds like a lot of people
singing together) or delay (sounds like quintuplets sing a song (^_^)).
Generally, it is quite hard to reproduce these effects because they are normally added to real sound. But in some classical music works, for example, "Desert music" (Steve Reich) shows the performance sounds like human voice is added echo effect by machines, even if it is live performance. So, we may be able to reproduce, just maybe.
Then, let's start with delay (the most basic style of echo) patch which a sound is just repeated. In the next time, many function will be appended to it, and for the last time, we will try the patch which give an effect to real sound.
@This
is an example of delay patch. 
dial
have already been explained in the issue before last, but I review them
to make sure.
makenote receives pitch, velocity and length of sound
on the upper left to right in order then produce noteon and noteoff information
and transmit the pitch information from the lower left and the velocity
from the lower right. Noteon data shows the velocity is 60 such as 53,60
and Noteoff data shows the velocity is 0 such as 53,0. Therefore it sounds
surely like start then stop.
noteout conveys playing information which made by
makenote, etc. to instruments out of computer or softwares by MIDI. It
receives pitch, velocity and MIDI channel number from the upper left to
the upper right in order.
dial was explained as it is similar to an electricity
control dial on the wall.
Here the new things are kslider, number box, and
pipe.
kslider
may be key slider. I am not sure how it is called. Anyway it is a virtual
keyboard on MAX. You can tap the keys by mouse as same as piano. The size
can be 1 *octave to 8 octaves (the same size to piano)
and more and there are small type and large type. The example shows small
one. It sends pitch data from the lower left and velocity data from the
lower right. When upper position of a key is tapped, loud sound comes.
numberbox
receive a number from the top, shows the value, and transmit it from the
bottom. Also, a number can be changed by *mouse drag
as you like. In this example, it's there to show the value given by dial
clearly.
And pipe
is the most important object in this time. The data which goes into the
upper left of pipe, it smokes a pipe for certain millisecond time (called
as delay time) given by a number in the upper right. And after break, it
go out from the bottom. In other word, it is an object which make data
delay in transmitting. You know it is certainly for delay function.
Well, people who read MAX i MUM since the first issue may know it, anyway
the thing comes after explanation of objects is patch explanation.
Sound pitch and velocity given from kslider by mouse input is sent to makenote. The upper left of makenote is blank but it gives the shortest numerical value when nothing is set.
On the other hand, a value given by dial is shown in numberbox and sent to pipe. It becomes a time length of "smoke a pipe".
There are 4 lines from the bottom of makenote. Two of them are for transmitting pitch and velocity to noteout, and others are for sending also pitch and velocity to two pipes.
Accordingly, the data sent to noteout sounds at the same time of playing keys and the data sent to two pipe sounds after waiting for a determined time by dial in pipe and sent to noteout.
Now here is a simple delay patch which the repeating
times is once. But this is really simple so it is hard to say that this
patch can add an effect to sound. It is too simple. (^_^;) (It may be able
to be used for a simple *Canon piece.)
So I will annex various functions. This is an alteration
to be the patch more useful.
You may say "again?" but I mention again that MAX is a programming developmental soft which can combine some patch or develop it easily.
You know when you make something into more developed one, it would murder you because of complication if it had been more complex before modified. So, this delay patch should be simple more.
What will be done is that I will reduce its function from making repeating sound repeat to making delay sound only. Additionally, I will reduce 2 lines which is for pitch and velocity to 1 line only. Then, it is.
Main changing is 2 lines which come out from makenote are led into one
pipe. You may think if it is no problem to mix data of pitch and velocity.
It is all right. As I mentioned before, the data is represented by numbers
simply such as 53. There is no disorder because they are sent out in the
order which was explained in the issue before last. 2 data through 1 line
could be a problem? No. it's not such a hard work for even an early computer.
Just only 4 three-figure numbers are sent so a computer is affected with
nearly nothing.
But only we are able to input to noteout by separating mixed number into pitch one and velocity one, or make them into a *list such as "53 0". In this case, I chose the way of separating them again.
Now I show you how objects works. Please look this experimental patch.
Again a new object appears. It is print.
print
is an object which displays all of things such as a given number, a numerical
series, text etc. It is very useful to check how numbers are changing at
a point of patch, when a problem occurred on the patch. The text after
print is a title to show which print's print it is on MAX window.
And the result after play a sound shows like this on the right. The data
presented first is velo, that is velocity. And next is note, this is pitch.
You know the order is 37 (velocity) then 53 (pitch).
So if data come out from makenote are mixed into
one line, the flowing order is velocity then pitch. Next, this mixed data
needs to be separated.
This is an object, 
cycle
which is for sorting out mixed data. cycle transmit each inputted data
from the lower left to the right hand side in order. In this patch, firstly
37 from the lower right of makenote and 50 from the lower left are transmitted
to cycle. Next, cycle sort out the data towards 2 exits such as 37 is sent
to the lower right of cycle and 50 is conveyed to the lower left. The result
is shown on the right.
But makenote receives pitch, velocity and MIDI channel
number from the upper left to the upper right in order, therefore 2 lines
are crossing between cycle and noteout.
Meanwhile, now we can clearly see which part is for adding delay effect.
Now each function are separated and placed on the patch. send and receive is useful for this.
send
and 
receive
are working in pair. Data sent to send is transmitted to receive. You can
organize your patch neatly when there is crossing lines or patch becomes
mess or you want to use a data at a lot of different place in a patch.
It is the same function as link by line, it is quite doubtful that they
are certainly needed, but they are (practically) very useful. I will mention
about this in the next issue.
Anyway, a patch which functions are parted is on the left.
A new object again. 
multiplication
works as it multiplies a number in the upper left and a number in the upper
right together and transmits the result from the bottom. In the meantime,
why I multiply delay time? Why a number is made free of change? Everything
will be clear in the next issue.
With this simplification, you can organize procedures how you will alter a part into. For example, if you want to increase repeating times of delay, you can do it infinitely only by copy and paste Delay Part. In case of change of a sound input resource, you alter Note In Part only. You may not need to change other part also.
Now we can alter it easily so.......... it is for the next issue? In the next issue, the patch will be got close to Karaoke Echo more, and also appended a patch which change each delay sound tone.
It was long way to here, as I expected. The way for
Echo is long and bumpy!? Hold out.
So, see you next time.
Q&A
It is unsure if the problem is solved but I fixed it in my power. So please use them. Also, I would like to say "thank you" to the gentleman who notice me this problem. Nevertheless, reply address was given as unknown address by a mail server so let me take this occasion to say a few words to express my gratitude. Thank you very much, indeed.
And the next is about this question again.
Question : I want to have a sound making by sonnargram, formant or voiceprint analysis, so please tell me something you have known.Moreover, you buy latest USA version MSP now, you can get a plug-in which you can make own VST plug-in by MSP. Unfortunately, it hasn't distributed in Japan but you get it and you can use the effectors, etc. made by yourself on softwares supporting VST plug-in.
And I would be grateful if you send me a software which can input audio data and use VST plug-in because I want to know the detail of MAX.Answer : I mentioned that MAX does not support VST plug-in in the previous issue but, MSP actually supports VST plug-in. My mistake is the check has done only in MAX manual. I am very sorry. I attempted it and find it very easy for use. Purely it works as plug-in, and you can see, change and transmit each each setting parameter. Sound input is fixed for 2 ch. but can be reduced depends on a sort of plug-in. Making out of a patchbay which plug-in are freely replaced or so on. You are not able to add function or build up own VST plug-in only with MSP.
But, I have no time to make software, and I can not send MSP manual or duplicate and send appended help file because it is illegal. I am so sorry.
If there were many voices from readers expecting an article about a combination usage of MAX and VST plug-in, I would think about it as a contents of MAX i MUM. So if you are interested in the such plan, please tell me your opinion by e-mail.
This Q&A looks like an apology page.
Anyhow, I am very happy to receive your opinion
and questions.
"Serial
Pincermovement" ~An example of passive composition~ (3)
In the previous issue, I mentioned about an effect brought by repeating and Minimal Music as one of example of it. In this issue, an analytical explanation may be mentioned according to announcement.
A daily salutation or a sleep is one style of repetition. All things in daily life is repetition. On the other hand, a design of a curtain or wall paper is totally composed by repetition of simple pattern. Massive buildings are too. Then, what conditions may need to be there when such a building or a scarf or what not given by repetition of pattern shows artistic value.
It is when we can find a sort of beautiful rule in them.
You may know mathematical beauty such as the golden section can be seen in many pictures of Leonardo da Vinci. So it is quite normal that mathematics is often used to order something somehow. It need not to be complex. Just it need to be an interesting rule with numerical rearrangement of factors by a series. This sounds very easy but nobody knows the best way of doing a certain choice of a numerical series on an occasion. It is an area of quest from the past to the future.
But you can learn it by study of great works. There
is a discovery (may have been done by master of numerical fetishism) which
shows:
Many *motives found in works
of Bach consist 14 notes. Assuming that a to z are 1 to 24, you can find
B + A + C + H is 2 + 1 + 3 + 8 = 14.
Now I introduce an interesting numerical series as an example from "From Chicago to New York" which is around 36 seconds from the starting of Steve Reich : "Different Trains". It is very good example of mathematical play.
Please attention to the disposition of voice and viola part (the analysis was done by listening therefore it is unsure if it is viola part). There are two type of play. One is a case they play a 6 beats sequence for 4 beats long(1) and another is a case they play the same sequence for full length(2), and the order of performance shows the following structure.
1-1-1-2-2-1-1-2-2-2-1-2-1
1-1-1-1-2-1-2-1-2-1-2-1-2-1-1-2-1-2-1-2-1-2-2-2-2-2
I will put brackets for clear understanding.
1-(1-1-2-2-1-1)-(2-2)-(2-1-2)-1
(1-1-1-1)-(2-1-2-1-2-1-2-1-2-1)-(1-2-1-2-1-2-1-2)-(2-2-2-2)
How do you find them. You see there are beautiful series of numbers.
Of course they are not appeared as practical beauty when you listen the music by your ear. They exists as a factor of it.
As our life always turns, also as a natural chemical reaction never finish at the end of one way, Minimal Music does not show start and end clearly. A rolling wave given by repetition exists there if it is converted into numbers.
If so, how Minimal Music is introduced into "Serial Pincermovement" (it is quite possible that everybody has forgotten this title even it shows on the title).
The detailed explanation of "Serial Pincermovement" will be had in the next issue. Simply, a sound series given by player is modified and play again and again according to a progression of a game. A sound series must belongs to a performer (can be said a game player), on the other hand, performance itself consists much a chance factor because it is a game. If they decided person is going to win and all of moves beforehand, then they play "Serial Pincermovement", the perfectly same performance involves of course, but to do this is very nonsensical.
As a rule involved a game determines a performance of a musical form, we can reproduce infinite possibilities led from a point on the time axis. And this repetition of a minimal sound element gives us an impression like the music is cut out from somewhere on the time axis. The game does not start from nothing, it starts with some notes already sounded. So it provides an impression like there is no start nor finish.
In this musical work, the composer provides conventional sound. More than prepared by composer can not be done, and different way of play can not be also. (Actually, it can be used as a simple sequencer software, but.)
The performer have an ability of control this music partly. Music on a game board progressing contingently consists possible accidents. It may be a similar thing to the fact that no performer can perform music as perfectly same as daily practising.
And a listener is just listening only. But it is possible that a listener takes part into a progression of games, therefore of music on his own initiative. No special performing ability is needed.
I say in advance, this idea as music given by a game appeared quite long time ago. This composition is an experimentation and a study by imitating for me. To tell the truth, I was interested what I would be considered by this composition.
Here is the composer who works out this with taking a strong passive standpoint against the music of this work.
He is in passive even if there is a specific way of performance and he presents a form. What I want to say is, in short, that he is not conscious of absolute and necessity to the fact that it is his work.
Such passive composition has been done in the past. I feel this passivity in a composition with *graphic scores or chance operation music with computer, even if composers of these works indubitably provide essential factors of being his composition.
So, what is activeness. What is exactly being active.
Often we say "a condition which the composer has responsibility and understanding to all playing sound.", but like the mentioned music may enough involve this understanding. If composer can feel own rule from sound of his work, he is understanding and responsible to his music. Activeness at this point is if he is conscious of absolute to the fact that his work must be his, therefore this statement can not be answer.
Especially players may lose the "activeness" quite often. I am sorry to use violent words but, if there is no understanding of composer's work with certain study, he may or can play as he likes and listeners do not notice it. Practice must be very difficult for them because there is no determined sound. Many players may feel a kind of irresponsibility. And it is difficult to feel necessity that it is played by himself.
Therefore, is it a music which all note, form and series are determined and there is no fundamental change (a perfect change of air, melody and recognizable form) at each music of 100-time performance.
This kind of music was composed in the past. All music written in traditional notation belongs to this.
The period which music is categorized by air or melody or etc. may be finished. But the most of listeners are still in the period. No. Still music which humans naturally desire may be able to be perceived by air or melody.
I leave it to readers direction. But I think, contemporary music is too unreasonableness. It try to forget the history of music (it means music for people) because they devote themselves to find out completely new things.
Pursuit of new is essential, but listeners should not be chosen. Nevertheless, to make things must be done by egoism.
I am too excited in this issue. I am not good when I think something in busy time because I speak with sentiment.
. . . . . . . . . . . . . . .
In the next issue, I will easily explain how to play
"Serial Pincermovement" anyway.
At
the starting of MAX i MUM
Thus the content includes quite basic usage of each object and description of terms, also introduces the interfaces which are provided by MAX and the optional software or hardware of it.
Moreover, it would be really welcoming that applications of readers which agree the above purpose.
MAX is a rare and excellent software which gives chance of making up musical works with well thought of logic and mathematics of creators, in other words, without concerned with special skills such as reading scores or playing musical instruments, to the persons who want to approach music actively.
I do hope at the starting of MAX i MUM
that a lot of readers would be interested in composition, arrangement,
also sound engineering, furthermore, here would be a place that we exchange
enjoyable information each other because of this magazine.
What
MAX is.
" Max is a graphical music programming environment for people who have hit the limits of the usual sequencer and voicing programs for MIDI equipment." (Miller Puckette, Max reference manual, 1988)
based on Pd by Miller Puckette, (c)1997 The Regents of
the University of California
MSP and Pd are based on ideas in Max/FTS, an advanced
DSP platform (c)IRCAM. Used by permission.
Cycling '74
1186 Folsom Street
San Francisco, CA 94103 USA
[email protected]
http://www.cycling74.com
The
imprint
The publisher and distributor : Shigeto Wada
The publishing office : Shigeto Wada Music Studio
e-mail address : [email protected]
Published on 9th September, 1999 as "MAX i MUM, the third issue in September"