Continuing from last post, implementation continued on the 4 outlined effects within the AES.
We have already ticked of Delay and the stacking there off as its something we have experienced in the past.
Every thing from here on in is RAW. (the entire creation video is available at the end of the post).
In this post we tackle the Frequency shifting.
The previous posts have been fairly thin in terms of content as the videos supplied have been short enough and straight to the point in terms of explaining the processes we are following.
Since we didnt know much regarding freq~ we cant rely on that.
(we might refer to bits in the video though!)
First up: Max has a lot of pre-built objects and patches designed to help musicians and designer get things moving as quickly as possible.
Not being as musically inclined as we would hope its hard to tell whether the patches available are good enough can sometimes be a struggle. In addition to this there is a client who has an idea for what sound should be made as well - this can all be pretty subjective.
CREATOR TIP - Do the best you can with time and resource available There is a reason car makers don't redesign the steering wheel with every new car they release. If it's not broke..... etc
So to try and cover more bases we implement two pretty standard max frequency alteration patches in the hope that atleast one will be close to the desired result.
**HERE IS A QUICK VIDEO NOTE ABOUT FFT***
Both do essentially the exact same way, the max base object adjusts frequency based on time parameters, the FFT patch does so on a sectional 'wave' basis.
we are sure for more complex audio processing tasks that FFT is ALWAYS the preferred method but in the case (and maybe with modern CPU power) we cant find a difference.
The final patch for the effect is actually pretty straight forward (this is the last, wait until you see time stretch and freeze - they are pretty special :( )
Audio signal in, passed into frequency filter, variable for frequency alteration (in Hz or samples depending on usages). Jump to 21:51 in the video to hear the effect in action.
We put a hidden gate inside the effect so that the artist can change processing method should they have a hatred for one of the other during playback.
Additionally we really hate the way that the slider controller for the effect works. Its probably something we are going to go back and address across all effects towards the end of the project. Why? because sliders work on strange ranges that our brains couldn't quite understand - RESETTING THEM TO DEFAULT IS HARD.
So we are probably going to pick this up when we come to implement the OSC data as its a time we will need to work with all of them a again.
Thats pretty much it for 03.
Whole video below: