#WAVE FIELD SYNTHESIS MAX MSP PATCH#
New calculations were taken and stored in the data sheet, and a new version of the patch was programmed. Our next step tasked us with adding in multiple other sources to place within the room. Walking around the room, our placed sound retains its spot as if Suzanne Vega were singing in the room… floating above our heads (I’ll talk more about that in a few paragraphs). It was a very interesting experience, being able to hear and localize the sound but be unable to point to any one specific speaker as its source. In our first run, we began with a single file, Suzanne Vega’s vocal-only recording of “Tom’s Diner” and listened to how it behaved in our system.
#WAVE FIELD SYNTHESIS MAX MSP SOFTWARE#
Visually, the patch began to take the shape reminiscent of a standard mixing console or related interface control software with movable faders and mutes for each individual channel.Īttenuation and Delay calculations - 4 locations This particular approach to the programming involved creating a 1x20 (in/out) monophonic mixer that could allow for setting initial Gain/Trim levels for each speaker and then have points to add our attenuation and delay times in. We decided to use Max/MSP to create a patch that could allow us to route audio and control all of these data points. From this point forward, there were two tasks that needed to happen in order to proceed: Generate data points corresponding to both attenuation levels and delay times for each speaker based off of an imaginary sound source, and an interface that could interpolate these data points and send sound to each speaker.
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