Reinventing Particle Synthesis
Location
Room 2908
Session Format
Paper Presentation
Research Area Topic:
Humanities & Social Sciences - Performing & Visual Arts
Abstract
The signal processing software developed for this research is the culmination of all particle synthesis techniques discussed in “Microsound” by composer and researcher Curtis Roads. These include the following: Glisson, Grainlet, Trainlet Pulsar, Formant, Transient Drawing, and Particle Cloning synthesis.
Simply put, each of these techniques varies in the inclusion and nature of parameters. In the initial implementation, Roads used the C programming language along with SuperCollider 2 to create these synthesizers (Roads 120-76). For my research, I used the Max/MSP audio programming language. I first created the condition in which Roads tested these techniques. For further study, I added functionality that was not available (due largely to processing speed limitations) at the time of the original software development.
Each of these techniques has previously been tested. The purpose of this endeavor was to combine all of methods into one fluid synthesis device. In doing so, a larger array of simultaneous parameters become available, thus adding a plethora of new sonic results.
“The aesthetic proof of any signal processing technique is its use in a successful composition” (Roads 301). The results of these experiments provided a considerable palette of sounds with which to work. Combinations of several particle synthesis techniques yielded the most useful and interesting results. The overall form was dictated by the microstructure of the sounds within. However, some materials were very sterile, and therefore incompatible with an expressive piece of art.
Keywords
Particle synthesis, Composition, Microsound, Software, Audio, Programming, Signal-processing, Sound art
Presentation Type and Release Option
Presentation (Open Access)
Start Date
4-24-2015 1:30 PM
End Date
4-24-2015 2:30 PM
Recommended Citation
Anderson, Aaron A., "Reinventing Particle Synthesis" (2015). GS4 Georgia Southern Student Scholars Symposium. 87.
https://digitalcommons.georgiasouthern.edu/research_symposium/2015/2015/87
Reinventing Particle Synthesis
Room 2908
The signal processing software developed for this research is the culmination of all particle synthesis techniques discussed in “Microsound” by composer and researcher Curtis Roads. These include the following: Glisson, Grainlet, Trainlet Pulsar, Formant, Transient Drawing, and Particle Cloning synthesis.
Simply put, each of these techniques varies in the inclusion and nature of parameters. In the initial implementation, Roads used the C programming language along with SuperCollider 2 to create these synthesizers (Roads 120-76). For my research, I used the Max/MSP audio programming language. I first created the condition in which Roads tested these techniques. For further study, I added functionality that was not available (due largely to processing speed limitations) at the time of the original software development.
Each of these techniques has previously been tested. The purpose of this endeavor was to combine all of methods into one fluid synthesis device. In doing so, a larger array of simultaneous parameters become available, thus adding a plethora of new sonic results.
“The aesthetic proof of any signal processing technique is its use in a successful composition” (Roads 301). The results of these experiments provided a considerable palette of sounds with which to work. Combinations of several particle synthesis techniques yielded the most useful and interesting results. The overall form was dictated by the microstructure of the sounds within. However, some materials were very sterile, and therefore incompatible with an expressive piece of art.
