A paper about this software that was presented at the SEAMUS 2002 National Conference at the University of Iowa.  Later, an article version was published in Journal SEAMUS.  It is available in this separate post and a recommended read for those using the GTK.

The Mac version is Universal Binary.  Mac and Windows versions should work for Max/MSP 4.6 and 5.

Special thanks to Tim Place of Electrotap for the windows port of the externals.

• Download Mac version 1.49 – 408 kb
• Download Win version 1.49 – 500 kb

• Download PDF file – 3.1 MB

ABSTRACT – Granular processing is a computer music technique that manipulates “grains” of sound to produce a variety of effects. Grains are produced by multiplying short segments of digital audio, typically lasting between 10 and 50 milliseconds, with an amplitude envelope of equivalent length. Software designed to produce granular processing effects often requires the user to manage multiple parameters that lack a clear connection to the audio output. A better understanding of how listeners perceive the processing output should yield insights into how the user interface could be simplified.

A series of three experiments was designed to investigate how listeners perceive differences between granular processing examples. Stimuli were produced using specific program settings to process two distinct sound sources. In each experiment, at least twenty participants were asked to rate the similarity of each possible pair of stimuli including identity pairs that existed among these stimuli. The author then used multidimensional scaling (MDS) to develop a graphical representation of the perceptual organization exhibited by participants.

Differences between stimuli included the processed sound source and settings for the grain duration and grain period parameters. Visual analysis of the MDS solution showed that participants clearly distinguished between the two sound sources. Processing descriptors based primarily on the review of literature were tested for correlation to the MDS dimensions. This analysis revealed the significance of three processing features: (1) a base-2 logarithmic scaling for differences in grain duration, (2) the minimum and maximum boundaries for randomized grain durations, and (3) the mean value and total deviation for randomized grain periods.

Between-subject variables relating to experience with electroacoustic music were also examined. However, the results of this secondary inquiry were deemed inconclusive overall based on the relationship between participants’ responses to pre-experiment questions and a priori operational definitions.

The findings were used to inform the design of a new graphical user interface (GUI) for granular processing. The resulting GUI helped to verify this study’s conclusions by successfully demonstrating their practical application to software development. The GUI features unique controls for managing randomization and a feedback display for monitoring differences between the control input and audio output.

• Download StuffIt archive – 212 kb
• Download Zip archive – 364 kb

See these other post for more information about GTK:

• granular toolkit 1.49
• journal SEAMUS article

ABSTRACT - Since the generation of granular textures was first automated using a computer (Roads 1978), granular synthesis has grown to become a popular tool for creating new sounds in electro-acoustic music. Many effects can be achieved through the granulation of sampled sound including time compression (Jones and Parks 1988) and expansion (Truax 1990) independent of pitch alterations. Such effects can be created using Cycling74’s Max/MSP software, allowing them to be utilized in real-time. However, the software does not include sufficient externals to meet the efficiency and flexibility needs for creating such effects. This paper details a collection of externals and abstractions for Max/MSP that the author has created with the aim of meeting these needs.

• Download PDF file – 132 kb

ABSTRACT -Since the generation of granular textures was first automated using a computer (Roads 1978), granular synthesis has grown to become a popular tool for creating new sounds in electro-acoustic music. Many effects can be achieved through the granulation of sampled sound including time compression (Jones and Parks 1988) and expansion (Truax 1990) independent of pitch alterations. Such effects can be created using Cycling74’s Max/MSP software, allowing them to be utilized in real-time. However, the software does not include sufficient externals to meet the need for maximum efficiency and flexibility in creating such effects. This lecture/demonstration will detail the toolkit for Max/MSP that the presenter has created with the aim of meeting these needs.

The toolkit includes four new externals that handle the generation of grains using various control methods. Each strikes a unique balance between different levels of precision and processor usage so that users can choose the approach best suited for their desired results. The externals are able to apply interpolation for smooth playback at various sampling speeds. In addition, the new externals allow the user to be confident that grain parameters are updated precisely at the beginning of each grain. The grain generation techniques will be explained along with additional details about companion externals that the presenter has created to generate control data.

In addition to providing new externals for low-level granular manipulation, larger abstractions have been included in the toolkit to provide “ready-made” effects. Each is built with a simple, consistent design intended to allow for easy incorporation into larger patches. Two forms of each effect exists, one allowing for a fixed sampling buffer into which a sound file is loaded and another for continuous sampling that can be applied to any input signal (even those that are live). These abstractions may also act as a guide for users on how to assemble custom granular effects. A description of the different effects available via these abstractions and how they are intended to interface with a larger patch will be given. The presenter will also explain how he has been using this toolkit in his own research to develop granular techniques that expand the amount of achievable granular sounds.

With its externals and abstractions, the granular toolkit should appeal to both the novice and expert user of Cycling74’s Max/MSP. Novices will find useful effects built to be easily incorporated into their own work. Experts will find useful tools that allow them to freely experiment with the possibilities of granular synthesis. Both should be pleased with the efficiency and flexibility that the granular toolkit offers to all.

• Download Paper in PDF – 116 kb