Waveplayer beads how to#
Waveplayer beads code#

If you ve never worked with a music programming environment before (Max, PD, SuperCollider, Kyma, Reaktor, Tassman, etc) then it s probably best to start from the beginning and work your way through Processing It is assumed that you already have a passing familiarity with the Processing programming language.

Waveplayer beads how to#

How to Use this Tutorial If you re familiar with Processing, and you re familiar with other music programming environments, then just pick an example program and jump right in. This tutorial will also be useful to sound artists who want a music programming paradigm that is more like Java or C than Max or PD (although it still draws on ideas from the latter environments). Who is this tutorial for? This tutorial is aimed at programmers who are already familiar with Processing, and want to start adding sound into their sketches.

If you are familiar with other computer music programming paradigms, such as Max, PD, SuperCollider or Nyquist, then you will be immediately comfortable using the objects in Beads. Beads is fundamentally a music and sound art library at its core. Although the Minim library serves a similar purpose, and has been around for much longer than Beads, for me it has never been a compelling tool for music creation. Beads is a fantastic tool for sound art creation, bringing together the best qualities of Java with the ease of programming seen in the patcher languages Max and Pure Data. Now, we have Beads! This tutorial is an introduction to the Beads library for creating music in Processing. I told him that that s not true any more. Although he is one of the most well-informed professors of my acquaintance, I had to interrupt him. Introduction Recently, a professor in the music department at UC Santa Cruz said in a casual conversation, Processing is a great language for the arts, but it s much better with visuals than with sound. Custom WavePlayer 4 Sonifying Processingĥ 1.

Miscellaneous Clock Appendix A: Custom Beads 122 A.1. Basic MIDI Output Sending MIDI to the Default Device 9. Basic MIDI Input MIDI-Controlled Sine Wave Synthesizer MIDI-Controlled FM Synthesizer 8.3. Using Audio Input Getting an Audio Input UGen 7.2. Saving / Rendering Output Using RecordToSample 7. Other Effects Panner 3Ĥ Reverb Compressor WaveShaper 6. Filters Low-Pass Filter Low-Pass Resonant Filter with an Envelope Band-Pass Filter and Other Filter Types 5.3. Effects Delay Delay Controlling Delay 5.2. Granular Synthesis Using GranularSamplePlayer Using GranularSamplePlayer Parameters 5. More Mouse Input Getting Mouse Speed and Mean Mouse Speed Complex Mouse-Driven Multi-Sampler 4.3. Sampling Playing Recorded Audio Loading and Playing a Sound Using SamplePlayer Playing Multiple Sounds, Playing in Reverse Controlling Playback Rate 4.2.

Envelopes Frequency Modulation with an Amplitude Envelope 4. Modulation Synthesis Frequency Modulation FM Controlled by the Mouse Ring Modulation 3.4. Additive Synthesis Two Sine Waves Many Sine Waves Additive Synthesis Controlled by a Sketch 3.3. Gain / WavePlayer / Glide Generating a Sine Wave Using Gain Controlling Gain Controlling Frequency 3.

Waveplayer beads code#

To download the source code for the examples in this book, visit The Beads Library as well as the associated documentation can be found at 2 Sonifying Processingģ Contents 1. Merz 1Ģ Sonifying Processing: The Beads Tutorial Copyright 2011 Evan X. 1 Sonifying Processing: The Beads Tutorial Evan X.