ellie

no no no no no no no no no no no no no

This is so helpful, I’m not familiar with mubu or pipo and I’m excited to take a look. Seriously thank you so much!

Thank you so much Paul! I haven’t seen this paper before and it looks like it addresses the issues I’m having. Very cool!

Cymbal sounds - I’ve found that large windows that capture enough partials without artifacts are sometimes longer than the sample itself, and overlap-adding FFT frames sounds choppy and weird. Smaller window sizes have a better sounding envelope, but have too few frequency bins :(

Hm, this looks better when it's animated:

My experience is sadly limited to rentals so I've always had to sacrifice some amount of floor space :(

When you say internal absorption do you mean like in-wall insulation?

Absolutely!

Arguments and Special Characters in Max - $ and #Symbols and name spaces in Max - Max 7 Documentation $ in a message box The dollar sign ($) is a special character which can be used in a message box to indicate a changeable argument. When the message box contain

the actual documentation page is here docs.cycling74.com/legacy/max7/...

otherwise if you wanted to use the same object but different buffers, you'd need to pass in the buffer name as a message through an inlet. But then you can run into issues if you try to use the object before it's received all the messages it needs. # notation significantly simplifies initialization

Let's say I make a playback patch "myObject" that needs a buffer. Within that myObject patch, my buffer object would be [buffer #1], referring to the first argument of that instance. Then in another patcher, I could initialize [myObject mybuffer1], [myObject mybuffer2] etc

It's a really useful way of using variables inside patchers loaded as an object, when you want multiple instances of the same patcher. In Max documentation they're called arguments I believe

Cheaper treatment like sound blankets on curtain rods can be enough to tame slapback. Obviously bass trapping will improve the overall tone of the room in terms of frequency flatness, but costs a lot more. mixed well, you can still get a polished vocal from a boxy room if there's no slapback.

Biggest thing for small spaces is catching early reflections/flutter echo IMO. Unlike a mix room where the frequency response of the room matters a lot, for a room to be good enough for tracking I would focus mainly on shortening the decay time of the room

My patching got so much better when I committed to no crossed patch cords and mastering "#" notation. I strive to make patches read like code. I'm particularly proud of this one, based on R. Luke Dubois' Jitter phase vocoder! Pic 2 is the original @cycling74.bsky.social
#maxmsp #pd #dsp #fft

we never should’ve given power to the nerds. the jocks shouldn’t have it either. we must usher in the age of the goths

was recently described as “clinically obsessed with minions”. if that’s a crime then lock. me. up.