jsn wrote:Hello Micah,
Would you be willing to elaborate more on which "sound synthesis" parameters we are hearing manipulated in these intriguing examples you've posted?
The video documents the original prototype that used Live. In that example, I was using Max and Jitter to parse the data and redistribute it as MIDI. There is also a branch that writes the file for Google Earth to read. In Live, Sampler was set up in a 'granular' sort of way with frames (loop lengths) jitter rates (LFO rate) density (polyphony), filtering, FM modulation etc... The waveform used was actually a recording of the 2004 tsunami as picked up by underwater nuclear monitoring microphones.
Now it is set up with a full blown Kyma system (that's what is actually posted on SoundCloud), so we really are dealing with more 'organic' synthesis. Max is only doing the numbers - no sound. The XML feed enters a Jitter object and is parsed into various components such as earthquake magnitude, elevation, latitude, longitude, elapsed time since the last quake, time of day, and a bunch of conditionals that modulate (or don't) various things. These data establish a few fundamental things in Kyma so it can do what it does best. Some of the data set the partials for a spectrum to be resynthesized, others set parameters a modal filter for physical modeling (although I'm having some trouble getting that one to work
and others set modulation rates. There's also a lot of granular resynthesis happening. It's a work in progress, but "works" nonetheless...
