i’m working on a number of classic reverbs in PD (so i can show them in class this quarter). first up is the Jon Dattorro plate reverb. please send me comments and corrections if you find any errors. thanks….
found a mistake in all of my allpass filters. this is now corrected and the dattorro plate sounds much much better. gain can also now go up to 1.0 for infinite reverb. i replaced the archive above with the update, so please download again.
fwiw – i also implemented the schroeder and moorer reverbs… my interpretation of moorer’s filtered combs may be a bit off, and i inverted the all pass and combs in the schroeder so that i could do a stereo output.
i have collected some of my most used filter code and put them into a vst plugin. the plugin code is here – and it should be easy to extract and implement any of the filters.
1 pole HP & LP
first order AP, LP & HP (derived from the Udo Zölzer chapters of DAFX)
second order AP, BP & BR (derived from the Udo Zölzer chapters of DAFX)
butterworth biquad LP & HP (from Patrice Tarribia’s musicdsp contribution)
moog LP (from Tim Stilson’s code)
state variable LP, HP, BP & BR (from Hal Chamberlain’s book)
hope people find it useful to have these collected in one place…
On September 5th, 2010, I debuted my version of John Cage’s Williams Mix at Space4Art in San Diego as part of Bonnie Wright’s Fresh Sound series. This was part of a concert which also featured J Lesser, Negitvwobblyland & Dieter Mobius. I played first, but there were many latecomers, so I played a second time after intermission (and John Cage birthday cake). Everything worked out beautifully, both performances were very satisfying. The reviewer from the SD Reader had the following to say:
“Williams Mix is a masterpiece of kaleidoscopic sonic assault — especially as played through the massive sound system assembled for the event. At times, it seemed that the piece was mimicking a short-wave radio scanning all of the channels available in Hell, with an epileptic hand manning the dial.
Fusillades of white and pink noise came shooting at the audience from all directions, while fragments of speech, acoustic instruments and ambient sound of all variety wrapped around the brain in the process.
In a very real sense – everything that followed – and some very brilliant things did follow – suffered in comparison. Measuring up to Cage – even something he composed in 1952, is no easy task.”
I completed Williams Mix only a few days before the concert. It took me from January to early August to measure all of the events on the 192 page score. After that I wrote software in Pure Data to perform the score, and started collecting the 500-600 sounds required to perform the piece. I collected about 100 sounds myself, the following musicians, artists and friends contributed from their sound collections: Cooper Baker, Bobby Bray, Clay Chaplin, Kent Clelland, Greg Davis, Greg Dixon, Tom Djil, Sam Dunscombe, Jeff Kaiser, Scot Gresham Lancaster, J Lesser, Elainie Lillios, Carl Stone, Stephan Mathieu, Rick Nance, Maggi Payne, Michael Trigilio, Doug Van Nort.
I will be playing Williams Mix again at UC San Diego on the November 5th Palimpsest concert, and will also be giving a short talk and performance at UC Santa Cruz on October 15th.
The echophon, a synthesizer module I co-designed with Tony Rolando of MakeNoise has just been released (get it at Analog Haven). Here is a great demo video from James Ciglar:
My current project is creating a new performance version of Williams Mix. I have received the score from the John Cage Trust and am measuring and noting all of the tape edits from the original 192 page score. This detailed information will be used to create a computer music program or patch with which I can perform the piece. I do not think anyone has taken this approach yet.
Soon I will be putting out a call for sound file contributions to this version. I will try to cast my net wide, as Cage’s original note calls for “all acoustic phenomena”. However, if I miss you and you would like to contribute to this project, please get in touch.
James Tenney composed For Ann (rising) in 1969 and made several realizations with tape and signal generators. In 1991 I was asked to engineer a compilation of his early computer and electronic music, “Selected Works 1961-1969″. Instead of using one of the tape versions of For Ann (rising), we decided to realize it digitally in Csound. Jim described the piece to me over the phone. The piece consists of 240 sine wave sweeps, each of which lasts 33.6 seconds long and rises 8 octaves (4.2 seconds per octave). Each sweep has a trapezoidal amplitude envelope which rises from 0.0 to 1.0 gain in the first two octaves, stays at 1.0 for the 4 mid octaves, and drops from 1.0 to 0.0 for the top two octaves of each sweep. A new sweep starts every 2.8 seconds. The Csound orchestra and score was simply:
sr=44100 kr=44100 ksmps=1 instr 1 kf expon 40, 33.6, 10240 ka linseg 0, 8.4, 2000, 16.8, 2000, 8.4, 0 a1 oscil ka, kf, 1 out a1 endin ---- f1 0 16385 10 1 i1 0 42 i1 2.8 42 i1 5.6 42 and so on.....
The tuning difference between each successive sweep is a 12tet minor 6th. I have recently put together a new realization of For Ann (rising) in Pure Data. I am using metro, delay and vline to generate the sweeps in this version, as these objects (unlike many objects in PD) are sample accurate, and should give consistent tuning accuracy. Also for this realization, I have added the capability to perform the piece with the original 12tet minor 6th, a just 1.6 ratio, and a golden mean (phi) ratio between successive sweeps.
The PD patch is available here, for those who want to hear the piece.
As requested – my pitchdelay drone shimmer feedback instrument
+phasor - a VST phase shifter (swept multi-notch filter made with concatented allpass filters). this was made as a class example for Music 176 and can be downloaded as a free part of the SoundHack Pvoc Kit.