The symmetry can be controlled by any audio signal. Usinga sine wave to modulate the waveshape, much like traditional FM synthesis the relationship between the fundamental frequency and the modulator, the carrier-to-modulator ratio (CMR) determines the harmonic or inharmonic components of the resulting waveform, so for example a CMR of 4 results in a steady, unchanging timbre and a CMR of 3.8523 resultsin an inharmonic timbre. By setting the frequency of the modulation source to a value slightly above or below an integer relationship with the fundamental frequency, the timbre-evolution of the waveform over time can be finely modulated. If the baseline shape is 0 (triangle waveform) then there is a modulation that sweeps the timbre from bright-to-dark and back again. With the baseline offset from the triangle wave the timbre sweeps from bright-to-dark, or dark-to-bright (fig. 3) depending on which direction away from triangle the baseline shape is set to, and whether the modulator is slightly below or slightly above an integer ratio with the fundamental frequency of the carrier (the frequency of the phasor~ used to drive the wavefolder algorithm). If the modulator amplitude +/- the baseline shape is >1 or
With this value for duration, it is also possible to synchronize LFO frequencies tothe same rhythmic pulse. Since the wave transformations are all driven by thephasor~ object, the phase of both the waveform and the modulator (which couldbe an osc~ object, or a phasor~ driving a cos~ object) can be set at the start of anote-event, so that rhythmic synchronization with a master clock is accuratelyimplemented. Shown above is the frequency offset and duration for 7 1/5ths ofa quarter-note at 132 beats-per-minute (BPM).
Magic Sinewave (harmonic elimination in three-level ..
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But the magic starts happening ..
The wavecutter~ object provides two mathematically simple functions to silence portions of the waveform below and above the threshold values(fig.8) and to transition the negative half of the waveform towards positive values according to thevalue of a second parameter (fig. 9).
It all starts with the sine wave: Learning Synth Programming
This is one possible implementation (click to enlarge) using both wavefolder~and wavestretcher~ objects. It is possible to freely adjust the CMR, or to set the CMR to an integer + offset so that it issynchronized to a pulse if sync_sweeps is enabled. An LFO, which itself may be an adjustable-symmetry wave, may be used to control the wavestretcher~ parameters and the pulse-threshold modulation.
Milhares de vagas abertas · Cadastre o CV grátis
The waveform becomes more pulse-train like, or it progresses towards a squared-off waveform. The settings are at audio rate and can be smoothly modulated with audio signals. When used with the wavefolder~, a further level ofcomplexity may be imposed upon the timbre and its evolution over time.
MIDI Controllers for Your Gear | MIDI Designer
For a complete implementation of all three objects, Wavecutter_FX~ adds another LFO which may or may not be synchronized to the previous machine, and a separate set of functions for using the wavecutter~ object.