my original signal is a the last 10 seconds of the song ‘elements’ by Lindsey Stirling. I wanted something that had a good beat and high frequencies. Here is the Signal I used:

I played around with the convolving for a while and I ended up with a list of 18 different noises afterwards. From them I chose my favorite out and played for you here. In order I have a small flutter echo i recorded from the chosky, a large echo I recorded from outside and underneath gates, an IR from underwater i downloaded from Freesound.org, a heart-beat i downloaded from freesound.org, an elephant squeaking sound effect i had on my computer, a traditional Bulgarian horn i had on my computer, and the beginning of the song ‘this is war’ by thirty seconds to mars which is almost the exact opposite of an envelope in the way that it steadily increases overtime instead of releasing. you can listen to them here:

Here is the end result of the signal being convolved. It was interesting how fast the high notes were destroyed and the space that sounded the most interesting (the flutter echo in the chosky) was the least interesting convolution.

I took a 27 second sound clip of an instrumental that I made and transformed the signal by convolving it with 4 different audio clips.

I used a loud clap for the impulse signal. The first sound was a clap within a glass enclosure inside of a bathroom. The second clap was recorded in a cluttered room. The third sample is a clip of MC Ride from the Death Grips screaming. The final sample is a snare that sounds a bit hollow. Each of these sounds created an interesting effect to the instrumental that I convolved them with.

Transform an audio signal by convolving it with four different Impulse Response recordings. You should make at least two of your IR recordings by using portable audio recorders to record the reverberations of a “pop” in two different acoustic spaces. Try to find unique acoustic spaces that will create interesting reverberations. The other two IR recordings can be more experimental. For example, one can got interesting results by treating musical sounds as if they were IR recordings.

To deliver your work present:

• The original signal
• The original signal convolved through 4 different IR recordings
• The 4 IR recordings, and a brief description of how they were produced

Convolution of images is acceptable as well if you’re interested in doing a visual version of this project.

For this assignment, I created a system which took the fundamental frequency of the audio signal and (after scaling it) used it to set a time delay. This same time delay is also used to control how often the fundamental frequency is sampled to set the next time delay.

The result is a new signal which stutters, especially around areas with large variation in fundamental frequency. The stuttering effect is compounded in this particular recording (Sidney Bechet’s “Si Tu Vois Ma Mère”, from Midnight in Paris) because of call and response, especially around 1:38 of the SoundCloud link.

https://soundcloud.com/bobbie-chen/bechet-stutter-1

The beginning to 3:13 is the original recording in the left channel and the output of the system in the right channel; 3:14 to the end is the output only. I tried to include the original recording as reference, but SoundCloud removed it for copyright reasons. Here is a YouTube link.

The Max patch is below.

I utilized a delay for a track along with a phasor to modify the audio.

A second version of music track Dafunk.

I used two note element make some new track, and you can change the speed of the music see how weird it can be.

This is a simple experimental song generator. It creates new and interesting textures. The controls will vary the composition, and each play through will be unique. But a distinct quality of the song should remain.

A random number is created by the system every 2 seconds. That number is scaled and ramped to alter delay times and pitch transpositions of three supplied sound files. Maximum settings for both variables may be altered by the listener.

The supplied sound files are patched to independent, clean gain controls, and are also sent to the transformation process. Before they’re altered, the mixture of each signal is controlled by a similar function as the randomized delay and pitch transformations, kept independent to provide diversity in numeric results.

My initial goal of this assignment was to create a fractal effect where if I draw one shape, over time (intervals of a second each perhaps), it will appear in another position, maintaining its exact dimensions. However, my final patch is as follows, which creates two different circular effects with the ability to choose colors for each iteration of circles being drawn.

I was creating my patch and playing around with different coordinates in the left side of the patch and I thought this tunnel effect fits well into the assignment’s theme of time shift because of its tunnel-like effect that is a little hypnotic at the same time. Every iteration of drawing a circle takes place after a second delay.

This is the second effect, by using the right side of the patch. It  creates concentric ovals that merge on the left side of the lcd. It also creates a different kind of hypnotic effect and the visual illusion of having a ‘<‘ pattern on the circle, due to the different spatial lengths between the circles.

Pretend youre a DJ on the road; you need to practice your scratching, but your turntables wont fit in your lap! This max patch uses the mouses x-position over an lcd to change the playback speed of an audio clip. Features I would like to figure out: use the mouse’s y-position, visual indicator of scratch position, and a better time-shifter (rather than pipe). Using pipe is not ideal

Link to Github https://github.com/TyVdz/Assignment-2/blob/master/DJ%20scratcher.maxpat

For this assignment, I wanted to create a system that would draw colored lines on an lcd based on a sound’s frequency and transposed feedback frequencies. Unfortunately due to time and knowledge constraints, I only managed to achieve half of my plan. I took a frequency-to-color converter (borrowed from my good friend Matt Hova, https://www.youtube.com/watch?v=R7vuAlkvKGQ) and combined it with the feedback system we made in class to create a system that displayed a frequency’s assigned color, then the colors of its transposed frequencies in another panel. My plan is to combine these values and somehow automate a line drawing process based on the initial sound’s amplitude and length… or something. Here’s the patch so far: