True, this is definitely a viable way to do additive synthesis!

Thanks! There is. The trick is to pick a threshold, and compare the amplitude against it. A conditional check on the server is 1 when true, and 0 when false. This is the signal you should use to trigger PlayBuf, EnvGen, etc. Here's an example. SetResetFF makes sense because it's basically a switch that can be turned on with one conditional check, and turned off with another. The sample (sig) is triggered whenever the source signal (src) is above -26 dB, and the sample can be retriggered after the amplitude falls below -50 dB. Keep in mind you'll have to fine-tune the threshold and reset parameters to get the precise behavior you want, based on the actual signals you're using. s.boot; b = Buffer.read(s, Platform.resourceDir ++ "/sounds/a11wlk01.wav"); ( SynthDef(\a, { var src, amp, trig, sig; src = BPF.ar( in: WhiteNoise.ar, freq: 1000, rq: 0.01, mul: LFNoise2.kr(5).exprange(0.04, 4); ); amp = Amplitude.kr(src, 0.01, 0.3).ampdb.poll(label: 'dB level'); trig = SetResetFF.kr(amp > \thresh.kr(-26), amp < eset.kr(-50)); sig = PlayBuf.ar(1, b, BufRateScale.ir(b), trig, startPos: 17000); sig = sig * Env.perc(0.01, 1).kr(0, trig); Out.ar(0, src ! 2); // control signal Out.ar(0, sig ! 2); // triggered sample }).play; )

@@elifieldsteel OMG! Thanks, Eli!! I'm going to work on this right away!!

Thanks, glad to hear! Regarding your question - maybe, but it sounds like you're describing a complicated way of achieving something than can be done much more simply. If you want to dynamically modulate amplitudes and phases of sinusoidal partials in an additive synthesis context, why not just modulate those sine waves themselves? A primary application of the FFT is to analyze some complex wave and obtain information about its component partials. But if you're doing additive synthesis, then you already _have_ those partials, so why bother with the FFT at all?

@@elifieldsteel Thanks for your response. I would like to experiment with Trainlet Synthesis (from Roads's Microsound) on SuperCollider and I experimented with the usual ways of creating an additive synthesizer (using Klang, Blip, Array.sineFill, multiple SinOscs etc) but didn't find a satisfying way of implementing the chroma parameter (harmonic balance) or satisfying results (mostly regarding optimization of CPU use and easiness to work with patterns) on my trainlet synthesizer prototype but mostly curious as to how to do it and if it is possible on SuperCollider. :)

An excellent tip! Using fewer UGens is definitely more efficient.

thanks!

Thanks. Some specialized knowledge was necessary. I built the original prototype by myself, but this final version was assisted by two electrical engineering students, and it has several improvements over the prototype. So I wasn’t totally on my own.

@@elifieldsteel wow ok that sounds very special and difficult. so it wont be that easy to bould this by yourself?

I’ve learned a lot from The Computer Music Tutorial (Roads) over the years, and a 2nd edition was recently published. It is a robust and comprehensive text that spares no detail.

@@elifieldsteel thank you for your response!

Single, isolated code expressions can be successfully evaluated regardless of whether they end with a semicolon, using shift-enter. In this case, the interpreter determines the end of the code expression to be wherever the first return character is. If you want to evaluate multiple code statements at once, however, semicolons must be used to separate them.

on macOS, command-enter. on windows/linux, control-enter.

Good luck! Happy to answer questions/provide extra help.

By changing noiseHz, we change the speed at which LFNoise0 selects values. These values are used to control the frequency of the sound we hear. By changing ampHz, we alter the frequency of two LFPulse UGens (named amp1 and amp2), causing them to pulse up and down at a different speed. These signals control the amplitude of the sound we hear. It's fair to say that the results of these two changes can sound similar, but they are not the same thing. Here's the second example, but noiseHz has been reincorporated into the SynthDef, replacing what was previously a constant value of 4. Set messages below attempt to demonstrate how these two parameters sound different from each other. ( SynthDef.new(\pulseTest, { arg ampHz=4, noiseHz=4, fund=40, maxPartial=12, width=0.5; var amp1, amp2, sig1, sig2, freq1, freq2; amp1 = LFPulse.kr(ampHz, 0, 0.35) * 0.75; amp2 = LFPulse.kr(ampHz, 0.5, 0.35) * 0.75; freq1 = LFNoise0.kr(noiseHz).exprange(fund, fund * maxPartial).round(fund); freq2 = LFNoise0.kr(noiseHz).exprange(fund, fund * maxPartial).round(fund); freq1 = freq1 * (LFPulse.kr(8)+1); freq2 = freq2 * (LFPulse.kr(6)+1); sig1 = Pulse.ar(freq1, width, amp1); sig2 = Pulse.ar(freq2, width, amp2); sig1 = FreeVerb.ar(sig1, 0.7, 0.8, 0.25); sig2 = FreeVerb.ar(sig2, 0.7, 0.8, 0.25); Out.ar(0, sig1); Out.ar(1, sig2); }).add; ) x = Synth(\pulseTest); // ampHz change x.set(\ampHz, 8); // faster x.set(\ampHz, 0.3); // slower // noiseHz change x.set( oiseHz, 24); // faster x.set( oiseHz, 2); // slower

@@elifieldsteel Thank you for taking the time to explain in detail! You're a great teacher and person. :)

I don’t think there’s a singular “correct” way to add reverb to an Ambisonic signal. Correctness depends on context. There are different techniques you can experiment with, and figure out which one you think sounds best. There is an AmbiVerbSC UGen. It’s a quark, built with the ATK in mind, but not included in the ATK quark distribution, so it needs to be downloaded and installed separately. I’ve briefly looked at it, but never actually used it. github.com/JamesWenlock/AmbiVerbSC Alternatively, you could pass your signal through a stereo reverb effect, and encode it to B-format separately from the dry signal. You could then apply different soundfield transformations to the dry and wet signals, which might be interesting. You could also decode them differently. You could also pass a B-format signal through a bank of monophonic reverberators, each with slightly different parameters, which could also have interesting results. There are probably lots of other options.

Te agradezco muchísimo la respuesta. Voy a hacer todo eso. Pero aprovecho para hacerte una consulta. Estoy siguiendo el tutorial paso a paso, y cuando en el minuto 27 (aprox) cuando se agrega la FoaRotate, me sale un error, y quedé trabado ahí. El error dice exactamente: exception in GraphDef_Recv: UGen 'FoaRotate' not installed. *** ERROR: SynthDef ambi not found FAILURE IN SERVER /s_new SynthDef not found Hace un par de horas que estoy con esto, inclusive desinstalé Supercollider por completo, borrando la carpeta del AppData (soy usuario de Windows), instalando sc3-plugins con Quarks, y atk-sc3 desde el zip. No lo puedo solucionar, y en internet no encuentro nada sobre el asunto. Ya no sé que hacer, y no puedo avanzar. No me figura que tenga error de instalación. Simplemente me dice eso, que FoaRotate no está instalado.

@@sebastianvillalba3260 It's difficult to say with accuracy using only this information, but my guess is that you installed the ATK Quark correctly, but not the sc3-plugins package. You will need to install both to use the ATK. Maybe you copied the plugins to the wrong location? Or forgot to recompile the library? I found this thread, which seems to be the same problem you're experiencing, although with a different UGen from a different quark scsynth.org/t/installed-quark-plugin-not-found/5527. You could also post your question on scsynth.org, and I'm sure someone will quickly point you in the right direction.

@@elifieldsteel recién, después de 3 días, logré hacerlo. Y no se exactamente como lo logré... Lo cual es frustrante. Pero bienvenido sea. Aprovecho para decirte que veo todos tus videos. Son obligatorios para consultas e inspiración. Te agradezco todo y te mando un abrazo desde Argentina!

Thanks! I don't think I have a video that directly addresses this topic, but I wrote chapters 9, 10 and 11 of my book hoping they'd provide insight in situations like yours.

Can you be more specific about how you're configuring the settings, what you're doing afterwards, and how you know the settings are reverting?

Always great to hear!

Glad to help!

Just added a homework link to the video descriptions in this playlist. There were five assignments this semester, assigned at two-week intervals. Also, if you don't mind going back a couple years, my 2021 playlist has links to problem sets in the video descriptions. The course content is nearly the same. ru-vid.com/group/PLPYzvS8A_rTbIgN0NTMBPXjmdyNvlD0cf

@@elifieldsteel Fantastic. Thank you! I really appreciate your work :)

You should be able to map Phasor values from a linear range to an exponential one using .linexp or .lincurve. If you provide a timestamp, I could probably be more specific.

@@elifieldsteel Well I’m actually trying this w GrainBuf with the goal of the play head going from 0 to 1 and slowing down more quickly at the end. Exponential decay I guess. The opposite of XLine. Can’t for the life of me figure out how to do this. I would like to stay in GrainBuf rather than use Warp1. Thanks

@@elifieldsteel This is figured it out posenv = EnvGen.ar(Env.new([0, 1],[bufdur], curve:-3), doneAction:2); had to specify the curve

Awesome, thanks!

Thanks! No, I'm not on Bandcamp. Maybe I should be. The best place to hear my music is probably my Performances playlist. Though, this isn't specifically a "SuperCollider music" playlist, it's more general than that. ru-vid.com/group/PLPYzvS8A_rTZiDjxBmz4ghSWPyQmsTQuR

For this semester, I assigned my own book, which was complete but unpublished at the time. The book is now available: global.oup.com/academic/product/supercollider-for-the-creative-musician-9780197617007?cc=us&lang=en&

Yes, it should. Generally, when using these types of safety tools, it's still possible to produce sound that is loud and startling, with the potential to damage your hearing, but the risk is lower.

Could you timestamp that for me?

@@elifieldsteel You mean when you quit and restarted the app?

49:57 that might have been it. I watched it a couple of times

This question would probably be better answered by someone who’s actually had this problem and fixed it. My experience is mostly limited to macOS. I suspect this is a hardware/driver issue, unrelated to your controller or SC. I would guess using a dedicated audio/MIDI interface might be a solution. Some questions: If you simply print (postln) the incoming MIDI data in SC, is the latency still present? Or does the latency only happen when using MIDI to generate sound? Does this latency happen in other audio/MIDI software, like a DAW? Or only SC? Doing some investigating and answering questions like this can sometimes help isolate the source of the problem.

Thanks so much Mark!