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lp.scamp~
| External |
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Scale, offset, and limit signals
This is your one-stop source for scaling, offsetting, and limiting signals to a different output range. The lp.scamp~ object wraps *~ and +~ into one convenient object with range-correction and splitting capabilities. The core duty of lp.scampf is to multiply incoming values by a scaling factor and then to add an offset. In the following discussion this is referred to as mapping. Additionally, values may be constrained to a given range. You can poll an lp.scamp~ object to find out how many samples were out of range. |
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lp.shhh~
| External |
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White noise
This is the "whitest " white noise available for Max/MSP, taking about 2.2 · 1014 years to repeat its cycle. That’s an order of magnitude longer than the estimated age of the universe since the Big Bang. Based on the lp.tata random number generator, it should also use a little less processing power than other white noise implementations. |
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lp.sss~
| External |
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"Pink " noise (Voss/Gardner algorithm)
Pink noise generated based on the original Voss/Gardner algorithm for generating 1/f distributed random numbers. |
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lp.tim~
| External |
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Time-domain interval mutation
The Time-domain Interval Mutator is an implementation of Larry Polansky’s "Morphological Mutations " designed for mutating audio signals in the time domain. |
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lp.zzz
| External |
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Generate random numbers from a 1/f ("pink") distribution (McCartney algorithm)
This is a control-domain version of the lp.zzz~ signal generator. It generates values in the range 0 < x < 1. It is based on a variant of the classic Voss/Gardner algorithm developed by James McCartney. |
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lp.zzz~
| External |
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"Pink" (1/f2)noise (McCartney algorithm)
Pink noise generated using James McCartney’s improved version of the original Voss/Gardner algorithm. McCartney’s algorithm is somewhat more efficient and, perhaps more importantly, distributes processor load more evenly. Also, it is possible to prove that the algorithm produces the desired power fall-off of 3dB/octave. |
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lp1~
| External |
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lowpass filter with resonance |
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lpass1~
| Abstraction |
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lowpass filter
This is a first-order IIR (infinite impulse response) lowpass filter using biquad~. It is one of the simplest filters in the Jimmies collection, as it just calculates two coefficients for biquad~: the input gain and the feedback coefficient. The cutoff frequency defines the frequency at which the high frequencies will begin to be attenuated; they will be attenuated up to half the sampling frequency. There is no control for the slope of the attenuation curve (see lpass2~ for a second-order lowpass filter). |
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lpass2~
| Abstraction |
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lowpass filter
A second-order IIR lowpass filter which is similar to the standard MSP object lores~ (a resonant lowpass filter). Like lpass1~, the cutoff frequency in the second inlet defines the point at which the high frequencies will start to be attenuated. However, lpass2~ also takes a "damping factor", which controls the slope of the cutoff. Damping values greater than 1.41 produce a mild slope similar to that of lpass1~. However, damping factor values less than 1.41 produce moderate to extreme gain boost around the cutoff frequency, characterizing this filter as a resonant lowpass filter (the gain boost creates a mild to pronounced resonating effect). |
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lpc~
| External |
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cross-synthesizer |
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lpS&Hi~
| External |
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Sample & Hold with interpolation |
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lpS&H~
| External |
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Sample & Hold without interpolation |
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lua~
| External |
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Lua~ is a Max/MSP external embedding an extension to the Lua programming language for computer music composition (the Vessel library), supporting sample accurate interleaving of synthesis and functional control.
Lua~ is a Max/MSP external embedding the Vessel library for Lua, supporting dynamic yet deterministic interleaving of both signal processing and structural control with up to sample accuracy. For representation, it comprises an interpreted music programming language (a variation to the Lua programming language with extensions for event, control and synthesis articulation), while for rendering, it comprises a deterministic, dynamic, lazy scheduling algorithm for both concurrent control logic and signal processing graphs.
A lua~ object embedded in a Max patch can load and interpret Lua scripts that make use of these extended capabilities in order to receive, transform and produce MSP signals and Max messages accordingly. Lua~ is particularly well suited to granular synthesis, algorithmic microsound and accurate timing needs, helpfully circumventing some of the limitations of the Max/MSP environment for such work by supporting highly dynamic signal processing graphs in parallel processes according to timing specifications below block rate. Using an interpreted scripting language within a graphical programming environment such as Max offers advantages of control flow, generality of data and structure, high precision and control, complexity of data and functional interdependency and variable scoping. |
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mandolin~
| External |
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mandolin physical model, STK, synthesis toolkit |
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marimba~
| External |
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marimba modal synthesis model, STK, synthesis toolkit |
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