Group multiple params into one.
Moduletidal-1.9.5Haskell2010
Sound.Tidal.Params
- 1302 values
- Packagetidal-1.9.5
- Exports1302
- LanguageHaskell2010
- LicenceGPL-3.0-only
- SourceParams.hs
Param makers
11 declarationsvalue
pStateList :: String-> StringIdentifies the cycling state pattern. Can be anything the user wants.
-> [Value]The list to cycle through.
-> ControlPattern
pStateList is made with cyclic lists in mind, but it can even "cycle" through infinite lists.
A wrapper for pStateList that accepts a `[Double]` rather than a `[Value]`.
A wrapper for pStateList that accepts a `[String]` rather than a `[Value]`.
Grouped params
10 declarationsgrain' is a shortcut to join a begin and end
These are equivalent:
d1 $ slow 2 $ s "bev" # grain' "0.2:0.3" # legato 1
d1 $ slow 2 $ s "bev" # begin 0.2 # end 0.3 # legato 1Generated params
1116 declarationsA pattern of numbers that speed up (or slow down) samples while they play.
In the following example, the sound starts at the original pitch and gets higher as it plays:
d1 $ s "arpy" # accelerate 2You can use a negative number to make the sound get lower. In this example, a different acceleration is applied to each played note using state values:
d1 $ arp "up" $ note "c'maj'4" # s "arpy" # accelerateTake "susan" [0.2,1,-1]Controls the amplitude (volume) of the sound. Like gain, but linear. Default value is 0.4.
d1 $ s "arpy" # amp "<0.4 0.8 0.2>"a pattern of numbers to specify the attack time (in seconds) of an envelope applied to each sample.
a pattern of numbers from 0 to 1. Sets the center frequency of the band-pass filter.
a pattern of anumbers from 0 to 1. Sets the q-factor of the band-pass filter.
begin receives a pattern of numbers from 0 to 1 and skips the beginning
of each sample by the indicated proportion. I.e., 0 would play the sample from
the start, 1 would skip the whole sample, and 0.25 would cut off the first
quarter.
In this example, the first 3 ade samples are played on every cycle, but the
start point from which they are played changes on each cycle:
d1 $ n "0 1 2" # s "ade" # begin "<0 0.25 0.5 0.75>" # legato 1Spectral binshift
choose the channel the pattern is sent to in superdirt
fake-resampling, a pattern of numbers for lowering the sample rate, i.e. 1 for original 2 for half, 3 for a third and so on.
Spectral comb
A control pattern; setcps is the standalone function.
Patterns don’t (yet) have independent tempos though, if you change it on one pattern, it changes on all of them.
p "cpsfun" $ s "bd sd(3,8)" # cps (slow 8 $ 0.5 + saw)bit crushing, a pattern of numbers from 1 (for drastic reduction in bit-depth) to 16 (for barely no reduction).
In the style of classic drum-machines, cut will stop a playing sample as soon as another samples with in same cutgroup is to be played. An example would be an open hi-hat followed by a closed one, essentially muting the open.
a pattern of numbers from 0 to 1. Applies the cutoff frequency of the low-pass filter.
a pattern of numbers from 0 to 1. Sets the level of the delay signal.
a pattern of numbers from 0 to 1. Sets the amount of delay feedback.
a pattern of numbers from 0 to 1. Sets the length of the delay.
noisy fuzzy distortion
DJ filter, below 0.5 is low pass filter, above is high pass filter.
Similar to begin, but cuts the end off samples, shortening them; e.g. 0.75 to cut off the last quarter of each sample.
d1 $ s "bev" >| begin 0.5 >| end "[0.65 0.55]"The example above will play the sample two times for cycle, but the second time will play a shorter segment than the first time, creating a kind of canon effect.
Spectral enhance
As with fadeTime, but controls the fade in time of the grain envelope. Not used if the grain begins at position 0 in the sample.
Used when using beginend or chopstriate and friends, to change the fade out time of the grain envelope.
Spectral freeze
for internal sound routing
frequency shifter
frequency shifter
frequency shifter
Used to control the amplitude (volume) of the sound. Values less than 1 make the sound quieter and values greater than 1 make the sound louder.
gain uses a power function, so the volume change around 1 is subtle, but it
gets more noticeable as it increases or decreases. Typical values for gain are
between 0 and 1.5.
For the linear equivalent, see amp.
d1 $ s "arpy" # gain 0.8This plays the first arpy sample at a quieter level than the default.
d1 $ s "ab*16" # gain (range 0.8 1.3 $ sine)This plays a hihat sound, 16 times per cycle, with a gain moving from 0.8 to 1.3
following a sine wave.
High pass sort of spectral filter
a pattern of numbers from 0 to 1. Applies the cutoff frequency of the high-pass filter. Also has alias hpf
a pattern of numbers from 0 to 1. Applies the resonance of the high-pass filter. Has alias hpq
shape/bass enhancer
Low pass sort of spectral filter
controls the amount of overlap between two adjacent sounds
A pattern of numbers. Specifies whether delaytime is calculated relative to cps. When set to 1, delaytime is a direct multiple of a cycle.
A pattern of numbers. Specifies whether the pitch of played samples should be tuned relative to their pitch metadata, if it exists. When set to 1, pitch metadata is applied. When set to 0, pitch metadata is ignored.
The note or sample number to choose for a synth or sampleset
The note or pitch to play a sound or synth with
Nudges events into the future by the specified number of seconds. Negative numbers work up to a point as well (due to internal latency)
octaver effect
octaver effect
octaver effect
a pattern of numbers. An "orbit" is a global parameter context for patterns. Patterns with the same orbit will share hardware output bus offset and global effects, e.g. reverb and delay. The maximum number of orbits is specified in the superdirt startup, numbers higher than maximum will wrap around.
a pattern of numbers between 0 and 1, from left to right (assuming stereo), once round a circle (assuming multichannel)
a pattern of numbers between -1.0 and 1.0, which controls the relative position of the centre pan in a pair of adjacent speakers (multichannel only)
a pattern of numbers between -inf and inf, which controls how much multichannel output is fanned out (negative is backwards ordering)
a pattern of numbers between 0.0 and 1.0, which controls the multichannel spread range (multichannel only)
a pattern of numbers between 0.0 and inf, which controls how much each channel is distributed over neighbours (multichannel only)
Phaser Audio DSP effect | params are phaserrate and phaserdepth
Phaser Audio DSP effect | params are phaserrate and phaserdepth
used in SuperDirt softsynths as a control rate or "speed"
Spectral conform
a pattern of numbers to specify the release time (in seconds) of an envelope applied to each sample.
a pattern of numbers from 0 to 1. Specifies the resonance of the low-pass filter.
ring modulation
ring modulation
ring modulation
a pattern of numbers from 0 to 1. Sets the level of reverb.
Spectral scramble
wave shaping distortion, a pattern of numbers from 0 for no distortion up to 1 for loads of distortion.
a pattern of numbers from 0 to 1. Sets the perceptual size (reverb time) of the room to be used in reverb.
Spectral smear
A pattern of numbers which changes the speed of sample playback which also changes pitch. Negative values will play the sample backwards.
d1 $ slow 5 $ s "sax:5" # legato 1 # speed 0.5This will play the sax:5 sample at half its rate. As a result, the sample will
last twice the normal time, and will be pitched a whole octave lower. This is
equivalent to d1 $ slow 5 $ s "sax:5" # legato 1 |- note 12.
d1 $ fast 2 $ s "breaks125:1" # cps (125/60/4) # speed (-2)In the above example, the break (which lasts for exactly one bar at 125 BPM), will be played backwards, and at double speed (so, we use fast 2 to fill the whole cycle).
A pattern of numbers that indicates the total duration of sample playback in seconds.
This sustain refers to the whole playback duration and is not to be confused with the sustain level of a typical ADSR envelope.
d1 $ fast 2 $ s "breaks125:1" # cps (120/60/4) # sustain 1At 120 BPM, a cycle lasts for two seconds. In the above example, we cut the sample so it plays just for one second, and repeat this part two times, so we fill the whole cycle. Note that sample pitch isn’t modified.
d1 $ s "breaks125:2!3" # cps (120/60/4) # sustain "0.4 0.2 0.4" # begin "0 0 0.4"Here, we take advantage that sustain receives a pattern to build a different break from the original sample.
timescale is the main function used to activate time-stretching, and usually
the only one you need. It receives a single parameter which is the stretching
rate to apply.
You can use any positive number as the ratio, but the particular method used is designed for ratios greater than 1, and work reasonably well for values between 0.1 and 3.
d1 $ slow 2 $ s "breaks152" # legato 1 # timescale (152/130) # cps (130/60/4)In the example above, we set tempo at 130 beats per minute. But we want to play
one of the breaks152 samples, which are, as indicated, at 152 BPM. So, the
ratio we want is 152 over 130. This will slow down the sample to fit in our 130
BPM tempo.
Time stretch window size.
The algorithm used to time-stretch a sample divides a sample in many little parts, modifies them, and puts them all together again. It uses one particular parameter, called windowSize, which is the length of each sample part.
The windowSize value is automatically calculated, but can be changed with timescalewin. The windowSize value is multiplied by the number provided.
timescalewin can be used to improve the quality of time-stretching for some samples, or simply as an effect.
Consider the following two examples. In the first one, timescalewin 0.01 makes
the window size a lot smaller, and the extreme chopping of the sample causes
a rougher sound. In the second one, timescalewin 10 makes the chunks a lot
bigger. The method used overlaps the treated chunks when recomposing the sample,
and, with the bigger window size, this overlap is noticeable and causes a kind
of delay effect.
d1 $ slow 2
$ s "breaks152"
# legato 1
# timescale (152/130)
# timescalewin 0.01
# cps (130/60/4)d1 $ slow 2
$ s "breaks152"
# legato 1
# timescale (152/130)
# timescalewin 10
# cps (130/60/4)for internal sound routing
for internal sound routing
Tremolo Audio DSP effect | params are tremolorate and tremolodepth
Tremolo Audio DSP effect | params are tremolorate and tremolodepth
tube distortion
Used in conjunction with speed. It accepts values of r (rate, default
behavior), c (cycles), or s (seconds). Using unit "c" means speed
will be interpreted in units of cycles, e.g. speed "1" means samples will be
stretched to fill a cycle. Using unit "s" means the playback speed will be
adjusted so that the duration is the number of seconds specified by speed.
In the following example, speed 2 means that samples will be stretched to fill
half a cycle:
d1 $ stack [
s "sax:5" # legato 1 # speed 2 # unit "c",
s "bd*2"
]formant filter to make things sound like vowels, a pattern of either a, e, i, o or u. Use a rest (~) for no effect.