Google. CV Academic site. Thunder sounds. Obiwannabe Use the source... To conclude this part on natural forces let's go out on a bang and get into the spirit for the next part on man made mayhem. We are going to build a natural soundscene of a storm. Some more weather elements are needed to complete the picture and two missing things that really help are thunder and wind.
I left these till now because we needed to understand formants and spectra a little more first. Have you ever been in a thunderstorm where the lightning bolts were falling all around you literally a few meters away? * The direction is interesting - lightning doesn't "come down", it reaches up, the flow of electrons is from a negative ground up towards a positive sky, but the path is chosen by positive ions coming down so that the bolt kind of meets in the middle - see refs. Lightning makes thunder happen Thunder is the sound of lightning so let's use the correct terms.
Audio .mp3 Puredata file .pd Scooby where are you? Audio .mp3 Puredata file .pd Audio .mp3 Refraction. La Musique et les Jouets du Vent. Interprètes. Le vent, souffleur. Le vent qui chante, ou tempête qui hurle. Le vent, musicien polyinstrumentiste. Le vent, orchestre avec les percussions, les cordes et les ... vents. Le vent, chef d'orchestre sur une partition aléatoire. Au programme ... musical : La famille des Percussions. Cette famille d'instruments éoliens est la plus nombreuse. Les instruments à battant éolien aléatoire constitue la première sous-famille : l'objet résonant est frappé par un battant poussé aléatoirement par le vent.
La seconde sous-famille regroupe les appareils de musique mécanique éolien : les moulins éoliens à percussions . La famille des Cordes. La soliste vedette de cette famille est sans conteste la harpe éolienne. Selon le même principe, des cerf-volants à voilure résonante de divers pays orientaux exploitent leur voilure en papier tendu comme résonateur (papier kraft par exemple) ; une ou plusieures cordes sont tendues sur les armatures transversales.
La famille des ... Bibliographie Silence. Animation Sound Design: Ben Burtt Creates the Sounds for Wall-E (Part 1 of 2) Designing Ambiences in Max/MSP. Guest article by Andreas Jonsson DSP beginnings Last year, I undertook a one-year Masters in Sound for Moving Image at the Glasgow School of Art, which got me properly introduced to the wonderful world of DSP and the seemingly endless possibilities of Max/MSP. Having dabbled briefly in Pure Data and coming from a background of computer programming, it didn’t take long before it got me completely hooked. The first thing I created was a variation on a sampler keyboard, a sort of homage to my trusty Casio SK-1 and Yamaha VSS-30 keyboards. In doing so, it really opened my eyes to how endless the possibilities could be with DSP and how the only real limitation seems to be ones imagination.
So I started to imagine other possible ideas that I could use for my final project and my mind eventually settled on an idea for an “Ambience Designer”. From idea to execution I identified three main types of implementation: Looping stereo layers Granular samples Procedural synthesis Distance and panning. Procedural Audio: Wind Generation | mattmeachem. Recently in my spare time I have been reading through Andy Farnell’s ‘Designing Sound’ book.
I have to mention this book is incredible. Farnell’s writing style and content are geared towards undergraduates, postgraduates and researchers. This book is explains and demonstrates how to design and implement procedural models. This book is very detailed and takes time and a lot of re-reading to fully understand some of the things he talks about. One of the procedural models that I have found fascinating has been wind generation. This is an important aspect of games as it adds to the ambience, feel and can help localization. Through traditional methods wind would be produced using linear loops or samples stung together dependant on an algorithm or variable. I’ll take you through a quick run-down of how this works, then in a following post I’ll provide some audio clips. The model starts at the patch ‘pd windspeed’. Here are some audio clips of the model: About mattmeachem.
ASPress - Designing Sound - Practical 18: Wind. Practical 18: Wind Pure Data Wind - gust generator, test patch Download wind0.pd. Wind - simple noise based wind Download wind1.pd. Wind - howling wind Download wind2.pd. Wind - complete wind scene Download wind4.pd. Wind - pan unit (abstraction needed by above) #N canvas 250 281 136 168 10; #X obj 64 123 *~; #X obj -4 123 *~; #X obj 80 77 cos~; #X obj 80 40 -~ 0.25; #X obj 80 18 *~ 0.25; #X obj 12 101 cos~; #X obj 12 77 -~ 0.25; #X obj 80 -4 sig~ \$1; #X obj -4 146 outlet~ l; #X obj 64 146 outlet~ r; #X obj -4 -4 inlet~; #X connect 0 0 9 0; #X connect 1 0 8 0; #X connect 2 0 0 1; #X connect 3 0 2 0; #X connect 3 0 6 0; #X connect 4 0 3 0; #X connect 5 0 1 1; #X connect 6 0 5 0; #X connect 7 0 4 0; #X connect 10 0 1 0; #X connect 10 0 0 0; Download fcpan.pd. Audio Wind sounds A section of wind with several objects in the scene like doorways, trees and thin wires.
Download wind.wav. Creating Evocative Wind Sounds - Social Sound Design.