diff --git a/docs/reference/synthesizers.md b/docs/reference/synthesizers.md index 55a8b77d0..af7de1be7 100644 --- a/docs/reference/synthesizers.md +++ b/docs/reference/synthesizers.md @@ -15,7 +15,7 @@ Some undocumented parameters are included without descriptions. ### Additive synthesis -#### Supergong +#### supergong An example of additive synthesis, building up a gong-like noise from a sum of sine-wave harmonics. Notice how the envelope timescale and amplitude can be scaled as a function of the harmonic frequency. @@ -31,7 +31,7 @@ d1 $ n (slow 2 $ fmap (*7) $ run 8) ``` ### Substractive synthesis -#### Supersquare +#### supersquare A moog-inspired square-wave synth; variable-width pulses with filter frequency modulated by an LFO: @@ -44,7 +44,7 @@ A moog-inspired square-wave synth; variable-width pulses with filter frequency m * `rate` (1): LFO rate * `pitch1` (1): filter frequency scaling multiplier, the frequency itself follows the pitch set by “n” -#### Supersaw +#### supersaw A moog-inspired sawtooth synth; slightly detuned saws with triangle harmonics, filter frequency modulated by LFO: @@ -57,7 +57,7 @@ A moog-inspired sawtooth synth; slightly detuned saws with triangle harmonics, f * `rate` (1): LFO rate * `pitch1` (1): filter frequency scaling multiplier, the frequency itself follows the pitch set by “n” -#### Superpwm +#### superpwm A moog-inspired PWM synth; pulses multiplied by phase-shifted pulses, double filtering with an envelope on the second @@ -70,7 +70,7 @@ A moog-inspired PWM synth; pulses multiplied by phase-shifted pulses, double fil * `rate` (1): LFO rate * `pitch1` (1): filter frequency scaling multiplier, the frequency itself follows the pitch set by “n” -#### Superchip +#### superchip Uses the Atari ST emulation *UGen* with 3 oscillators: @@ -81,7 +81,7 @@ Uses the Atari ST emulation *UGen* with 3 oscillators: * `pitch3` (3): control the ratio of harmonics * `voice` (0): causes variations in the levels of the 3 oscillators -#### Superhoover +#### superhoover Hoover, adapted from [Wouter Snoei](http://superdupercollider.blogspot.com/2009/06/more-dominator-deconstruction.html)’s implementation: @@ -89,7 +89,7 @@ Hoover, adapted from [Wouter Snoei](http://superdupercollider.blogspot.com/2009/ * `decay` (0): for a different envelope shape * `accelerate` (0): for constant pitch glide -#### Superzow +#### superzow Phased saws: @@ -98,7 +98,7 @@ Phased saws: * `slide` (1): how fast it moves through the phase * `detune` (1): for oscillator detuning -#### Supertron +#### supertron Feedback PWM: @@ -112,7 +112,7 @@ d1 $ s "supertron" # accelerate "0.2" ``` -#### Superreese +#### superreese Vaguely Reese-like synth: @@ -120,11 +120,11 @@ Vaguely Reese-like synth: * `voice` (0): number of voices * `detune` (0): detune amount -#### Supernoise +#### supernoise Digital noise in several flavors with a bandpass filter: -### Superstatic +#### superstatic Impulse noise with a fadein/fadeout. @@ -134,7 +134,7 @@ Impulse noise with a fadein/fadeout. * `slide`: works like accelerate on the bandpass * `resonance`: is the filter resonance -#### Supercomparator +#### supercomparator * `voice` (0.5): scales the comparator frequencies, higher values will sound “breathier” * `decay` (0) @@ -145,7 +145,7 @@ Impulse noise with a fadein/fadeout. * `pitch1` (1): filter frequency scaling multiplier, the frequency itself follows the pitch set by “n” ### Physical modelling -#### Supermandolin +#### supermandolin Physical modeling of a vibrating string, using a delay line (`CombL`) excited by an intial pulse (`Impulse`). To make it a bit richer, I’ve combined two slightly detuned delay lines: @@ -153,7 +153,7 @@ Physical modeling of a vibrating string, using a delay line (`CombL`) excited by * `accelerate` (0): pitch-glide * `detune` (0.2): detune amount -#### Superpiano +#### superpiano Hooking into a nice synth piano already in **SuperCollider**: @@ -163,13 +163,13 @@ Hooking into a nice synth piano already in **SuperCollider**: * `muffle` (1) * `stereo` (0.2): stereo amount. -#### Superfork +#### superfork Tuning fork from Ben Gold’s experimentation and from “On the acoustics of tuning forks”, Rossing Russell and Brown: * `accelerate` (0): pitch-glide amount. -#### Superhammond +#### superhammond Hammond B3 sim. Frequency adjustments courtesy of [Tom Wiltshire](https://electricdruid.net/): @@ -190,7 +190,7 @@ Voices are drawbar presets: * **9.** Jazz 2 -#### Supervibe +#### supervibe Vibraphone simulation, adapted with some help from Kevin Larke’s thesis Real Time Vibraphone Pitch and Timbre Classification: @@ -202,7 +202,7 @@ Vibraphone simulation, adapted with some help from Kevin Larke’s thesis Real T * `detune` (0): adjusts a high harmonic to give the sound a different character ### FM synthesis -#### Superfm +#### superfm 6 operator FM synth (**DX7**-like). Works a bit different from the original **DX7**. Instead of algorithms, you set the amount of modulation every operator receives from other operators and itself (feedback), virtually providing an endless number of possible combinations (algorithms). @@ -344,14 +344,14 @@ d1 $ freq "<200 300> <400 800>" #s "superfm" ### Drum synthesis -#### Superhex +#### superhex Waveguide mesh, hexagonal drum-like membrane: * `rate` (1): ?? * `accelerate` (0): pitch-glide amount -#### Superkick +#### superkick Kick Drum using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sounds-in-supercollider-part-1)’s implementation as a starting point: @@ -360,7 +360,7 @@ Kick Drum using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sou * `pitch1` (1): affects the click frequency * `decay` (1): changes the click duration relative to the overall timescale -#### Super808 +#### super808 A vaguely 808-ish kick drum: @@ -368,14 +368,14 @@ A vaguely 808-ish kick drum: * `rate` (1): controls the filter sweep speed `voice` (0): sets the sinewave feedback -#### Superhat +#### superhat Hi-hat using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sounds-in-supercollider-part-1)’s implementation as a starting point: * `n`: provides some variation on the frequency in a weird way * `accelerate` (0): sweeps the filter -#### Supersnare +#### supersnare Snare drum using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sounds-in-supercollider-part-1)’s implementation as a starting point: @@ -383,7 +383,7 @@ Snare drum using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-so * `decay` (1): for scaling noise duration relative to tonal part * `accelerate` (0): for tonal glide -#### Superclap +#### superclap Hand clap using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sounds-in-supercollider-part-1)’s implementation as a starting point: @@ -392,7 +392,7 @@ Hand clap using [Rumble-San](http://blog.rumblesan.com/post/53271713518/drum-sou * `rate` (1): affects the decay time * `pitch1` (1): scales the bandpass frequency -#### SOSKick +#### soskick Kick drum synth. Increase `pitch1` and `voice` for interesting electronic percussion: @@ -403,20 +403,20 @@ Kick drum synth. Increase `pitch1` and `voice` for interesting electronic percus * `speed` (0.3): controls WhiteNoise sweep (min: 0, max: 1) * `freq` (65) -#### SOSHats +#### soshats * `resonance` (1): bandpass filter resonance value (min: 0, max: 1) * `pitch1` (238.5): oscillator modulation in radians (min: 0, max: `SampleRate.ir / 2`) * `sustain` (0.5): sustain amount * `freq` (220): frequency -#### SOSToms +#### sostoms * `voice` (0.5): controls modulation input phase in radians (min: 0, max: your sanity) * `sustain` (0.5): sustain amount * `freq` (261.626): frequency -#### SOSSnare +#### sossnare `voice` (0.385): controls modulation input phase in radians (min: 0, max: your sanity) `semitone` (0.452): modulation frequency in semitones of fundamental @@ -458,11 +458,11 @@ Gabor grain Shepard on a cycle: * `accelerate` (0): pitch-glide amount. -#### Supersiren +#### supersiren A controllable synth siren, defaults to 1 second, draw it out with `sustain`. -### Supergrind +#### supergrind From `synthdef.art` fragment(2018-08-16):