programming

• expand_morePulse cross-filter
  Basic strategy: using a flexible, controllable signal, which has a range going from constant '1' ( 1 sample = no signal alteration) to noise (= infinite alteration; of course within techn. limitations), as the transforming cross-filter signal, in order to create and control as many possible sonical/musical effects of the cross-filter as possible. This is a real-time implementation, so that one can be in control of the many musical possibilities of the cross-filter, make smooth transitions between them etc., in real-time.
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• expand_moreCriss cross-filter
  Cross-filtering the various timbres of one instrument with each other, in real-time. Variation is created simply by a delay and a time modulation algorithm (before cross-filtering the signal). Especially with new, exotic instruments like for example the knifetable this can lead to astonishing results.
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  Cross-filtering two voices, in this case an adult voice with a child voice - notice that the length of the response file (the child voice) first gradually increases before it decreases again towards the end.
  
• expand_moreWaveset real-time
  some examples of real-time implementations and spin offs of Trevor Wisharts waveset technique in kyma (programming language):

  • Waveset timestretching (sample domain), by Camille Troillard - signal flow
    
    
    
  • Waveset reversal (control signal domain) - signal flow
    
    
    
  • Waveset merging (control signal domain) - signal flow
    
• expand_moreSamplebit manipulation
  two examples for a time-modulation algorithm dividing the signal into bits:

  • Pseudo time modulation, by Camille Troillard - signal flow
    
  • 3 Samplebit streams - signal flow
    
    
    
• expand_more1st patch for Steve Reich
  Ein Kyma-patch inspiriert durch die Reichsche Phasing-Techniken, wobei mich seine Techniken zu einer eigenen Implementierung, aber auch insbesondere zu einer anderen, vielleicht neuartigen Anwendung in Kyma inspiriert haben. Diese Anwendung basiert auf einer einfachen (Low-Frequency-)Oszillator-Crossfade-Technik. Dabei bewegt sich eine Crossfade-Module zwischen einem Pattern mit weichen Malletschlegeln und demselben Pattern gespielt durch harte Malletschlegel. Neue Phasing-Verschiebungen entstehen nun durch eine minimale Verkürzung der „Crossfade-Oszillator“-Frequenz (dies gllt auch für entsprechende Subdivisions-Frequenzen), im Verhältnis zur Ausgangs-Frequenz der Pattern gesehen. Dadurch verschiebt sich das Pattern, ähnlich den Reichschen Result-Patterns, mit harten Malletschlegeln gespielt.Diese neue Phasen-Verschiebung resultiert auch in klanglichen Verschiebungen, da sich die Crossfade-Module graduell durch die beiden unterschiedlichen Timbres, zu unterschiedlichen Frequenzen bewegt.Am Ende des zentralen Teils ist die Crossfade-Frequenz so hoch, dass Vibrato-artige Effekte entstehen. Die Verschiebung ist dann fast rein klanglich, nicht mehr rhythmisch.
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• expand_moreNoise delay
  This can be used as an alternative technique to create frequency and amplitude fluctuations/deviations. Furthermore, by using multiple noise delay modules, the illusion of a chaotic sound-mass can be established.

  • Example 1 (frequency and amplitude fluctuations/deviations) - signal flow
    
    
    
  • Example 2 (illusion of sound-mass) - signal flow
    
    
    
• expand_moreEbow sampler
  a sampler with ebow samples (ebows vibrating piano strings), build in kyma. Here an excerpt from "pulses and drones".
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• expand_moreRandom release
  a live capture and loop idea which embraces granular sounding textures (releases) as well as reversing a.o.
  signal flow