Analysis and resynthesis of real instruments using Pure Data and the MKMR library

In this experience report, I present my method for synthesizing realistic sounding instruments. Starting from the analysis of a marimba sample to how to recreate it using additive synthesis while reducing the number of objects, memory and CPU load. This synthesized model only uses pd vanilla objects, allowing an ease of implementation with projects using libpd. The instrument detailed in this article and many more are part of my open-source library: mkmr. This repository is a compilation of vanilla made abstractions with different categories such as: oscillators, filters, effects, instruments, waveshapers, sequencers, etc.

Production and investigation of powders for additive synthesis from a new beta-solidifying TiAl-based alloy

Chemical composition, structure, and technological properties have been investigated for metal powder compositions (MPCs) of a new six-component TiAl-based alloy with Gd microadditions: Ti-31.0Al-2.5V-2.5Nb-2.5Cr-0.4Gd, wt.% (Ti-44.5Al-2V-1Nb-2Cr-0.1Gd, at.%). Three MPCs fractions (10–63, 40–100, 80–120 μm) were produced by electrode induction melting and inert gas atomization technique and targeted for the additive synthesis of parts. It is shown that the chemical composition of the MPCs for the main elements corresponds to that of the electrode. In contrast, a 1.5-fold increase of the oxygen content in the MPCs was observed, which is being the result of natural oxidation of powder particles upon air environment due to developed specific surface. It has been determined that the phase composition of the MPCs (γ+α(α2)+β) differs from the equilibrium phase composition of the electrode (γ+α2)+β0/B2) and corresponds to a rapidly quenched metastable state, which indicates high solidification rates in the atomization process, exceeding critical cooling rates of the alloy. The technological properties, specifically the powder flowability, were found to be improved for 40–100 and 80–120 μm fractions, making them applicable for additive synthesis of parts from the studied alloy by selective electron-beam melting method

Computer Sound Design

The principles of sound design within a computational context are demonstrated through a series of examples and techniques. These include additive synthesis, which is the focus of the earlier part of the chapter, and is followed by source-modifier methods, which are complementary to it. The more advanced approaches of granular synthesis and streaming spectral processing complement the discussion, which is fully illustrated with code examples and spectrogram figures. The chapter concludes with an overview of design approaches.

Ellen Arkbro and Marcus Pal; Claudia Molitor, Decay, hcmf//, 16 November 2019

Ellen Arkbro has been much fêted in experimental scenes (though not – or not yet – so much in the sort of new music scenes with which hcmf// remains associated) for her two records, For Organ and Brass (2017) and CHORDS (2019). Her performance with Marcus Pal in St Paul's Hall in Huddersfield follows a number of other shows in the UK, including at TUSK festival in Newcastle and at the Barbican in London. The pair are based in Stockholm, where they seem to be part of a burgeoning experimental organ scene. Their just intonation drone music comes with impeccable credentials: both studied with La Monte Young, and Pal also studied with Catherine Christer Hennix. The organ emitted a quiet diminished octave as the audience filed in, a dissonance resolved as soon as Arkbro sat down at the organ manual. What followed appeared to be a reworked and extended version of CHORDS for organ: the organ articulating perfect intervals and single tones, sounding something like a harmonic series and something like the I–IV–V of rock and blues, while Pal's computer-generated additive synthesis, speakers carefully directed upwards parallel to the organ's pipes, combine with the organ's familiar sound to create dense and jagged masses, chords transforming into timbres and back again.

Sonifyd: A Graphical Approach for Sound Synthesis and Synesthetic Visual Expression

This paper describes Sonifyd, a sonification driven multimedia and audiovisual environment based on color-sound conversion for real-time manipulation. Sonifyd scans graphics horizontally or vertically from a scan line, generates sound and determines timbre according to its own additive synthesis based color-to-sound mapping. Color and sound relationships are fixed as default, but they can be organic for more tonal flexibility. Within this ecosystem, flexible timbre changes will be discovered by Sonifyd. The scan line is invisible, but Sonifyd provides another display that represents the scanning process in the form of dynamic imagery representation. The primary goal of this project is to be a functioning tool for a new kind of visual music, graphic sonification research and to further provide a synesthetic metaphor for audiences/users in the context of an art installation and audiovisual performance. The later section is a discussion about limitations that I have encountered: using an additive synthesis and frequency modulation technique with the line scanning method. In addition, it discusses potential possibilities for the future direction of development in relation to graphic expression and sound design context.