Pure Data has become an increasingly permanent fixture in my musical routine. I use it to teach, compose and perform; and so, I was delighted to attend, present and perform at the Pure Data Mini-Conference at Trinity College in Dublin in May, 2012…
BLOCKS reflects the spatial location and amplitude of a multi-channel output of an electric guitar. This is the initial patch. Initial Patch (Phase 1) New (Spatial) Modes – Phase 2 A series of spatial modes are based on pitch-class distance, pitch…
[mill~] is a granular synthesis external by Olli Keskinen, built originally for Pure Data on Linux. This is my compile of Keskinen’s code for OSX. You can download it from here. Check the help file to find out how to record a live audio source in …
A homemade wireless foot controller made out of a wireless keyboard, programmed in Pure Data, controlling “Echoloop” VST, in Ableton Live.
Pure Data to Live – Phase 1 from Ricky Graham on Vimeo. Establishing communication between Pure Data and Ableton Live via virtual MIDI channel (IAC Bus on Mac).
Pure Data to Live – Phase 3 from Ricky Graham on Vimeo. The objective of this patch is to reflect a balance between salient musical cues, such as pitch, timbre, space, and time, during real-time music performance. This patch is still a work in pro…
Pure Data – Harmonic Partial Filter – Phase 2 Using [vcf~] instead of [bp~] to allow an approximation of partials to be reconstructed as harmonic series for manipulation and exploration into the concept of pitch space. This system does not deal wi…
Pure Data – Harmonic Partial Filter – Phase 1 from Ricky Graham on Vimeo. Phase one of harmonic partial filter using [bp~] in pure data. [sigmund~] takes incoming pitch from live guitar and converts to frequency using [mtof]. Frequency then specif…
Pure Data to Live – Phase 4 from Ricky Graham on Vimeo. Implementation of mapping strategies based on pitch and interval class in Pure Data.
