Reversing/Inverting Sawtooth alters the sound?
@Booberg Slew rate in electronics does not itself alter phase (arguable) as it is a byproduct, but there are countless things in most circuits which do alter phase. We use capacitors to block the DC voltages between different stages of the circuit so the DC voltages which set operating points for those stages don't interact with each other and alter the operating point of the other, these capacitors form filters with the resistances around them, phase is a much more fluid thing in the real world and less perfect than in the digital world. Sometimes we design out these capacitors to avoid these effects and directly couple the various stages in a circuit but this creates a teeter totter effect, altering one stage affects the others so you have to adjust them all and rebalance everything. But slew rate is not an issue in something like the transistor ladder since its effects will be insignificant compared to the effects of the filter unless the the cutoff is all the way up and Q all the way down and even then would likely be lost behind the circuits distortion and noise.
I do not know of any really good software transistor ladders, most if not all mimic the circuit as a whole instead of the individual stages which make up the circuit, this largely removes the highly interactive nature of the the stages and the controls but it is more CPU efficient and makes the filter respond as most people expect a filter to respond. The filter has four major components from the audio standpoint, input amp, the transistor ladder itself, the recovery/output amp, and the resonance path, each of these tailors the frequency response and distortion characteristic of the overall circuit and each of these influences how the others do this. Generally the primary source of distortion is the output amp loading down the ladder, but we can also overdrive the input for a different sound and high resonance settings will overdrive the ladder itself, changing the filters frequency can completely remove the distortion effects of the output amp and make the other sources primary and they each have a very different sort of distortion. We have four distinct sources of distortion and tone shaping besides the ladder at the core and all but the input circuitry are affected to some degree by the cutoff control voltage since changing the cutoff changes how the ladder loads the output amp which changes how the resonance path drives the core and loads the output stage. I know of no emulations which bothers to model all of this, they seem to all fixate on getting that handful of stereotypical sounds and call it good because they know that the first thing most people are going to do is set it for one of those sounds and if it gets that sound they will be convinced of it's authenticity, most have not spent enough time with the real thing or done extensive analysis of the circuit, they only know those stereotypical sounds, not how it responds to the musician.
Edit: I don't know if any of this actually matters or if anyone would notice the difference between the simplified emulations and an accurate one, musicians tend to be more practical than engineers and the practicality of my musician side lost out to my curiosity in such matters long ago. The real thing does respond much more like an acoustic instrument than an electronic instrument, which is why the mini was the first big success in synths, but I am not sure that plays any role these days.
LTSpice may be available for OSX, I don't actually know now that I think about it, if you have wine installed the windows version runs perfectly there. Check their site, it is free. I do not believe you would be able to run its circuits with other simulators but I could be wrong, the file syntax might just be plain old Spice.
Ganymede: an 8-track, semi-automatic samples-looper and percussion instrument based on modulus instead of metro
Ganymede.7z (includes its own limited set of samples)
Background:
Ganymede was created to test a bet I made with myself:
that I could boil down drum sequencing to a single knob (i.e. instead of writing a pattern).
As far as I am concerned, I won the bet.
The trick is...
Instead of using a knob to turn, for example, up or down a metro, you use it to turn up or down the modulus of a counter, ie. counter[1..16]>[mod X]>[sel 0]>play the sample. If you do this then add an offset control, then where the beat occurs changes in Real-Time.
But you'll have to decide for yourself whether I won the bet. .
(note: I have posted a few demos using it in various stages of its' carnation recently in the Output section of the Forum and intend to share a few more, now that I have posted this.)
Remember, Ganymede is an instrument, i.e. Not an editor.
It is intended to be "played" or...allowed to play by itself.
(aside: specifically designed to be played with an 8-channel, usb, midi, mixer controller and mouse, for instance an Akai Midimix or Novation LaunchPad XL.)
So it does Not save patterns nor do you "write" patterns.
Instead, you can play it and save the audio~ output to a wave file (for use later as a loop, song, etc.)
Jumping straight to The Chase...
How to use it:
REQUIRES:
moonlib, zexy, list-abs, hcs, cyclone, tof, freeverb~ and iemlib
THE 7 SECTIONS:
- GLOBAL:
- to set parameters for all 8 tracks, exs. pick the samples directory from a tof/pmenu or OPEN_IND_DIR (open an independent directory) (see below "Samples"for more detail)
- randomizing parameters, random all. randomize all every 10*seconds, maximum number of bars when randomizing bars, CLR the randomizer check boxes
- PLAY, L(imited) or I(nfinite) counter, if L then number of bars to play before resetting counter, bpm(menu)
- MSTVOL
- transport/recording (on REC files are automatically saved to ./ganymede/recordings with datestamp filename, the output is zexy limited to 98 and the volume controls the boost into the limiter)
- PLAYHEADS:
- indicating where the track is "beating"
- blank=no beat and black-to-red where redder implies greater env~ rms
- MODULAE:
- for information only to show the relative values of the selected modulators
- WEIGHTS:
- sent to [list-wrandom] when randomizing the When, Accent, and Offset modulators
- to use click READ_ARRAYS, adjust as desired, click WRITE, uncheck READ ARRAYS
- EVEN=unweighted, RND for random, and 0-7 for preset shapes
- PRESETS:
- ...self explanatory
-
PER TRACK ACCORDION:
- 8 sections, 1 per track
- each open-closable with the left most bang/track
- opening one track closes the previously opened track
- includes main (always shown)
- with knobs for the sample (with 300ms debounce)
- knobs for the modulators (When, Accent, and Offset) [1..16]
- toggles if you want that parameter to be randomized after X bars
- and when opened, 5 optional effects
- adsr, vcf, delayfb, distortion, and reverb
- D-W=dry-wet
- 2 parameters per effect
-
ALL:
when ON. sets the values for all of the tracks to the same value; reverts to the original values when turned OFF
MIDI:
CC 7=MASTER VOLUME
The other controls exposed to midi are the first four knobs of the accordion/main-gui. In other words, the Sample, When, Accent, and Offset knobs of each track. And the MUTE and SOLO of each track.
Control is based on a midimap file (./midimaps/midimap-default.txt).
So if it is easier to just edit that file to your controller, then just make a backup of it and edit as you need. In other words, midi-learn and changing midimap files is not supported.
The default midimap is:
By track
CCs
---TRACK--- | ---SAMPLE--- | ---WHEN--- | ---ACCENT--- | --- OFFSET--- |
---|---|---|---|---|
0 | 16 | 17 | 18 | 19 |
1 | 20 | 21 | 22 | 23 |
2 | 24 | 25 | 26 | 27 |
3 | 28 | 29 | 30 | 31 |
4 | 46 | 47 | 48 | 49 |
5 | 50 | 51 | 52 | 53 |
6 | 54 | 55 | 56 | 57 |
7 | 58 | 59 | 60 | 61 |
NOTEs
---TRACK--- | ---MUTE--- | ---SOLO--- |
---|---|---|
0 | 1 | 3 |
1 | 4 | 6 |
2 | 7 | 9 |
3 | 10 | 12 |
4 | 13 | 15 |
5 | 16 | 18 |
6 | 19 | 21 |
7 | 22 | 24 |
SAMPLES:
Ganymede looks for samples in its ./samples directory by subdirectory.
It generates a tof/pmenu from the directories in ./samples.
Once a directory is selected, it then searches for ./**/.wav (wavs within 1-deep subdirectories) and then ./*.wav (wavs within that main "kit" directory).
I have uploaded my collection of samples (that I gathered from https://archive.org/details/old-school-sample-cds-collection-01, Attribution-Non Commercial-Share Alike 4.0 International Creative Commons License, 90's Old School Sample CDs Collection by CyberYoukai) to the following link on my Google Drive:
https://drive.google.com/file/d/1SQmrLqhACOXXSmaEf0Iz-PiO7kTkYzO0/view?usp=sharing
It is a large 617 Mb .7z file, including two directories: by-instrument with 141 instruments and by-kit with 135 kits. The file names and directory structure have all been laid out according to Ganymede's needs, ex. no spaces, etc.
My suggestion to you is unpack the file into your Path so they are also available for all of your other patches.
MAKING KITS:
I found Kits are best made by adding directories in a "custom-kits" folder to your sampls directory and just adding files, but most especially shortcuts/symlinks to all the files or directories you want to include in the kit into that folder, ex. in a "bongs&congs" folder add shortcuts to those instument folders. Then, create a symnlink to "bongs&congs" in your ganymede/samples directory.
Note: if you want to experiment with kits on-the-fly (while the patch is on) just remember to click the REFRESH bang to get a new tof/pmenu of available kits from your latest ./samples directory.
If you want more freedom than a dynamic menu, you can use the OPEN_IND(depedent)_DIR bang to open any folder. But do bear in mind, Ganymede may not see all the wavs in that folder.
AFTERWARD/NOTES
-
the [hcs/folder_list] [tof/pmenu] can only hold (the first) 64 directories in the ./samples directory
-
the use of 1/16th notes (counter-interval) is completely arbitrary. However, that value (in the [pd global_metro] subpatch...at the noted hradio) is exposed and I will probably incorporate being able to change it in a future version)
-
rem: one of the beauties of this technique is: If you don't like the beat,rhythm, etc., you need only click ALL to get an entirely new beat or any of the other randomizers to re-randomize it OR let if do that by itself on AUTO until you like it, then just take it off AUTO.
-
One fun thing to do, is let it morph, with some set of toggles and bars selected, and just keep an ear out for the Really choice ones and record those or step in to "play" it, i.e. tweak the effects and parameters. It throws...rolls...a lot of them.
-
Another thing to play around with is the notion of Limited (bumpy) or Infinite(flat) sequences in conjunction with the number of bars. Since when and where the modulator triggers is contegent on when it resets.
-
Designed, as I said before, to be played, esp. once it gets rolling, it allows you to focus on the production (instead of writing beats) by controlling the ALL and Individual effects and parameters.
-
Note: if you really like the beat Don't forget to turn off the randomizers. CLEAR for instance works well. However you can't get the back the toggle values after they're cleared. (possible feature in next version)
-
The default.txt preset loads on loadbang. So if you want to save your state, then just click PRESETS>SAVE.
-
[folder_list] throws error messages if it can't find things, ex. when you're not using subdirectories in your kit. No need to worry about it. It just does that.
POSTSCRIPT
If you need any help, more explanation, advise, or have opinions or insight as to how I can make it better, I would love to hear from you.
I think that's >=95% of what I need to tell you.
If I think of anything else, I'll add it below.
Peace thru Music.
Love thru Pure Data.
-s
,
Just Another (Drum) Sequencer...SortOf, codename: Virgo
Just Another (Drum) Sequencer...SortOf, codename: Virgo
REQUIRES: zexy, moonlib, tof (as of Pd 0.50.2, all of which are in deken) and hcs (which comes by default with Pd 0.50.2 and is in deken (for extended))
Special Features
- Unique playhead per row; each with their own metro (beat)
- Up to 8 Volume states-per-beat (by clicking multiple times on the bang; where an rms=1 is divide among the states (2 states:0=rms=0(black), 1=rms=1(red); 3 states:rms=[0|0.5|1])
- Design approach: using creation arguments to alias abstractions, so subsequently they are referred to by their creation arguments, ex. in [KITS sample] sample is referred to as [$1]; which is how they are listed below)
(notes: what I learned experimenting with this design approach, I will share as a separate post. Currently, it does not include cut-copy-paste (of regions of the pattern)). I good way to start trying it out is clicking the "R" to get a random kit and a random pattern).
virgo:[virgo/PROJECT KITS PATTERNS]
- PROJECT[KITS PATTERNS]
- $1:[KITS sample]
- GUI
- K: openpanel to load a previously saved *.txt (text object) kit of samples; on loadbang the default.txt kit is loaded
- S: save the current set of samples to the most recently opened *.txt (kit) preset
- SA: saveas a *.txt of the current set of samples
- D: foldererpanel a sample directory to load the first (alphabetically) 16 samples into the 16 slots
- RD: load a random kit from the [text samples] object where the samples where previously loaded via the "SAMPLES" bang on the right
- U: undo; return to the previously opened or saved *.txt kit, so not the previously randomized
- MASTER: master gain
- (recorder~: of the total audio~ out)
- record
- ||: pause; either recording or play;
- play: output is combined with the sequencer output just before MASTER out to [dac~]
- SAMPLES: folderpanel to load a (recursive) directory of samples for generating random kits
- ABSTRACTIONS
- $1: sample
- bang: openpanel to locate and load a sample for a track
- canvas: filename of the opened sample; filenames are indexed in alignment with track indices in the PATTERNS section
- $1: sample
- GUI
- $2:[PATTERNS row]
- GUI
- P: openpanel to load a previously saved *.txt (pattern) preset file; on loadbang the default.txt pattern is loaded; the preset file includes the beat, pattern, and effect settings for the row
- S: save the current pattern to the most recently opened pattern .txt
- SA: save as (self-explanatory)
- states: the number of possible states [2..8] of each beat;
- %: weight; chance of a beat being randomized; not chance of what it will result in; ex. 100% implies all beats are randomized ; random beats result in a value)gain) between 1 and states-1
- PLAY(reset): play the pattern from "start" or on stop reset all playheads to start
- start: which beat to start the playheads on
- length: how many beats to play [+/-32]; if negative the playheads will play in reverse/from right to left
- bpm: beats-per-minute
- rate: to change the rate of play (ie metro times) by the listed factor for all playheads
- R: randomize the total pattern (incl period and beats, but not the effect settings; beats of 1/32 are not included in the possibilities)
- CL: clear, set all beats to "0", i.e. off
- U: undo random; return to the previously opened or saved preset, ie. not the previous random one
- M: mute all tracks; the playheads continue moving but audio does not come out of any track
- ||:pause all playheads; play will resume from that location when un-paused
- per: period; if 0=randomizes the period, >0 sets the period to be used for all beats
- Edit Mode
- Check the [E] to enter edit mode (to cut, copy, or paste selected regions of the pattern)
- Entering edit mode will pause the playing of the pattern
- Play, if doing so beforehand, will resume on leavng edit mode
- The top-left most beat of the pattern grid will be selected when first entering edit mode
- Single-click a beat to select the top-left corner of the region you wish to cut or copy
- Double-click a beat to select the bottom-right corner
- You may not double-click a beat "less than" the single-clicked (top-left) beat and vice-versa
- Click [CL] to clear your selection (i.e. start over)
- The selected region will turn to dark colors
- If only one beat is selected it will be the only one darkened
- Click the operation (bang) you wish to perform, either cut [CU] or copy [CP]
- Then, hold down the CTRL key and click the top-left corner of where you want to paste the region
- The clicked cell will turn white
- And click [P] to paste the region
- Cut and copied regions may both be pasted multiple times
- The difference being, cutting sets the values (gains) for the originating region to "0"
- Click [UN] to undo either the cut, copy, or paste operation
- Undoing cut will return the gains from 0s to their original value
- Check the [E] to enter edit mode (to cut, copy, or paste selected regions of the pattern)
- (effect settings applied to all tracks)
- co: vcf-cutoff
- Q: vcf-q
- del: delay-time
- fb: delay-feedback
- dist: distortion
- reverb
- gn: gain
- ABSTRACTIONS
- $1: [row (idx) b8] (()=a property not an abstraction)
- GUI
- (index): aligns with the track number in the KITS section
- R: randomize the row; same as above, but for the row
- C: clear the row, i.e. set all beats to 0
- U: undo the randomize; return to the originally opened one, ie. not the previous random one
- M: mute the row, so no audio plays, but the playhead continues to play
- S: solo the row
- (beat): unit of the beat(period); implying metro length (as calculated with the various other parameters);1/32,1/16,1/8, etc.
- (pattern): the pattern for the row; single-click on a beat from 0 to 8 times to increment the gain of that beat as a fraction of 1 rms, where resulting rms=value/states; black is rms=0; if all beats for a row =0 (are black) then the switch for that track is turned off; double-click it to decrement it
- (effects-per-row): same as above, but per-row, ex. first column is vcf-cutoff, second is vcf-q, etc.
- ABSTRACTIONS
- $1: b8 (properties:row column)
- 8-state bang: black, red, orange, yellow, green, light-blue, blue, purple; representing a fraction of rms(gain) for the beat
- $1: b8 (properties:row column)
- GUI
- $1: [row (idx) b8] (()=a property not an abstraction)
- GUI
- $1:[KITS sample]
Credits: The included drum samples are from: https://www.musicradar.com/news/sampleradar-494-free-essential-drum-kit-samples
p.s. Though I began working on cut-copy-paste, it began to pose a Huge challenge, so backed off, in order to query the community as to 1) its utility in the current state (w/o that) and 2) just how important including it really is.
p.p.s. Please, report any inconsistencies (between the instructions as listed and what it does) and/or bugs you may find, and I will try to get an update posted as soon as enough of those have collect.
Love and Peace through sharing,
Scott
fx3000~: 30 effect abstraction for use with guitar stompboxes effects racks, etc.
fx3000~
fx3000~ is a 30-effect abstraction (see effects list below) designed to expedite the creation, spec. of guitar, effect "racks".
It takes one creation argument, an identifying float, ex. 0, 1, etc.
Has
- two inlets
- left:~: the audio signal
- right: a list of the parameter values: [0-1] for the first 4, [0..29] for the 5th, and [0|1] for the 6th.
- 1-4: depth and parameters' 1-3 values
- 5: the index of the effect
- 6: the bypass for the effect
- a [r~ fx3000-in-$1] and [s~ fx3000-$1-OUT] to better expedite routing multiple instances
- a [r fx3000-rndsetter-$1] to set random values via a send
- 20 preset slots per abstraction creation argument, i.e. index, via "O" and "S" bangs, so abs #0 writes to preset file=pres-0.txt (NOTE: if you have yet to save a preset to a slot nothing will happen, i.e. you must add additional presets sequentially: 0 then 1, then 2, etc.)
- a [r PREIN-$1] to send values in from a global preset-ter
- the names of the parameters/effect are written to labels upon selecting (so I will not list them here)
- and a zexy~ booster-limiter to prevent runaway output~
The help file includes three such abstractions, a sample player, and example s~/r~'s to experiment with configurations.
Note: the origin of each effect is denoted by a suffix to the name according to the following, ex. ""chorus(s)"
- s:Stamp Album
- d:DIY2
- g:Guitar Extended
- v:scott vanya
The available effects are:
- 0 0-raw
- 1 audioflow(v)
- 2 beatlooper(v)
- 3 chorus(s)
- 4 delay(3tap)(d)
- 5 delay(fb)(d)
- 6 delay(pitch)(v)
- 7 delay(push)(v)
- 8 delay(revtape)(g)
- 9 delay(spect)(g)
- 10 delay(tbr)(v)
- 11 delay(wavey)(v)
- 12 detuning(g)
- 13 distortion(d)
- 14 flanger(s)
- 15 hexxciter(g)
- 16 looper(fw-bw)(v)
- 17 octave_harmonizer(p)
- 18 phaser(s)
- 19 pitchshifter(d)
- 20 reverb(pure)(d)
- 21 ringmod(g)
- 22 shaper(d)
- 23 filter(s)
- 24 tremolo(d)
- 25 vcf(d)
- 26 vibrato(d)
- 27 vibrato(step)(g)
- 28 wah-wah(g)
- 29 wavedistort(d)
I sincerely believe this will make it easier for the user,...:-) you, to make stompboxes, effects racks, etc.
I hope I am correct.
Peace. Love through Music.
-S
p.s. of course, let me know if you notice anything awry or need clarification on something.
Ofelia: Shaders. Step 1. Errors about coordinates
@ddw_music
"to create some abstractions for common pix operations (perhaps add to 60hz's library), so that users can do some basic stuff (gain, levels, alpha masking) without all users having to go down this rabbit hole individually -- and also maybe serve as a template for others to implement more pix ops in the future"...
i already made / adapted a collection of basic shaders, most of them can be optimized and written in a more standard way, but perhaps they are helpful for a start:
https://forum.pdpatchrepo.info/topic/12152/ofelia-glsl-video-effects
https://forum.pdpatchrepo.info/topic/12141/ofelia-glsl-shader-loader/13
Guitar effects signal chain help
I have made three guitar effects so far as part of a guitar multi effects patch. Overdrive, Delay and Chorus. The effects work perfectly fine, I am just having problems routing them together. I want to be able to route them in a chain e.g adc~ --- Overdrive --- Delay --- Chorus --- dac~ with the ability to bypass/mute different effects when required. I don't want the effects to run parallel as the overdrive overpowers and it does not sound right. Has anyone got any suggestions on how I can go about doing this?
Starting a Pure Data Wiki (Database/Examples Collection)
Just to give an idea of the kind of resource I'm talking about; here is a rough version of the kind of entry that I can put together just using my bookmarks. Nothing too technical, just a collection of useful stuff put together in one place.
Reverb
Reverberation (or reverb) is the effect generated by many copies of a sound with different delays summing together due to reflections off the boundaries of a space. In contrast to echo, the individual copies are not distinguishable but overall effect typically makes the sound richer or fuller.
Pure Data Vanilla comes with three reverb examples in the extras; in Help>Browser they should appear under ‘Externals’.
freeverb~ is a PD external offering ‘studio-quality Schroeder/Moorer reverb’
https://puredata.info/downloads/freeverb
(example usage: https://guitarextended.wordpress.com/2012/01/24/reverb-effect-in-pure-data/)
Examples:
- Tom Erbe’s reverb patches
(allpass, Schroeder, Moorer, Moore, Gerzon/Stautner/Puckett, Dattorro)
http://tre.ucsd.edu/wordpress/?p=625 - Choucroute FX by coloscope
https://patchstorage.com/la_choucroute_fx/
Tremolo/reverb effect : “harmonic tremolo” found in early 1960s amps. - 282~ reverb (Ursa Major SST-282) by acreil / whale-av
https://forum.pdpatchrepo.info/uploads/files/1516212572597-working.zip - Freeverb Vanilla
https://github.com/derekxkwan/pd-vfreeverb
Derekxkwan’s cleanup of Katja Vetter's Pd-vanilla freeverb abstraction - ELSE library
https://github.com/porres/pd-else
Contains [mono.rev~], [stereo.rev~], [echo.rev~], [giga.rev~], [free.rev~]
PD Forum discussion of the subject: https://forum.pdpatchrepo.info/topic/11622/reverberation
Further reading:
https://www.soundonsound.com/techniques/springs-plates-buckets-physical-modelling
Sound on Sound ‘Synth Secrets’ article on Reverb
See also: Delay/Echo, Resonators, Convolution
Ofelia GLSL Video Effects
Hello
This is the first version of the GLSLVideoEffects patch. It is made with the Ofelia library.
It creates an effect chain of three GLSL shaders.
The effects are mainly adaptions from existing shaders.
It started as a technical issue, but I think it is a patch on its own now...
I tried to make it easy to change or substitute GLSL effects or to expand the patch.
I have some further ideas, but this is the basic concept.
The interface makes also use of the new "coords" message for canvas positions, which works very well.
Ofelia - videoPlayer and GLSL Effects
The glitches are gone and the mixer works now as expected
It is now also an effect chain, effect one goes into effect two and so on.
I think in the glitch version everything was mixed together...
Very nice that this is possible with Ofelia (Pure Data / Lua / Open Frameworks/ GLSL).
I use 4 fbo´s now (one for the video player and one for each effect), just did not know how to use them right.
But somehow I found some of the old glitches quite fascinating.
I would be happy about feedback and suggestions (how to improve the patch)...
One question: Right now the functionality depends on the creation order of the Ofelia objects, because that also seems to be the draw order.
Can I create a constant draw order somehow?
Edit: I think the fbo's are also the solution for a video delay, i just need to find out how to grab for example every 5th frame into 10 fbo buffers. Then I can mix the fbo's with a GLSL file...
Ofelia - videoPlayer and GLSL Effects
I added 21 GLSL effects to the videoPlayer. And finally the pixel effect, which was the reason why i looked into GLSL.
I modified some effects that I found, so it is not my code. Still try to understand GLSL.
Would be nice to have a bigger video glsl collection.
ofelia_video_glsl.zip