home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
Club Amiga de Montreal - CAM
/
CAM_CD_1.iso
/
files
/
428.lha
/
WonderSound_v1.5
/
wondersound.doc.pp
/
wondersound.doc
Wrap
Text File
|
1990-10-06
|
4KB
|
89 lines
/* WonderSound 1.5 may be freely redistributed by all conceivable means */
Wondersound is an additive harmonic instrument design tool with a separate
envelope design window and 16 relative harmonic strength and phase angle
controls. The top gadgets in the main window control the harmonic strengths;
the bottom gadgets, the phase angles.
The two large gadgets on the right control a frequency modulation process
during WAVING. The left one, the multiple of the fundamental (integers
from 1 to 100) for the modulating wave's frequency and the right one,
the amount of modulation. These two gadgets are called the right and
left control gadgets from here on. They control PHAZING, FLANGING and
KLIPPING, also.
The large gadget on the far right controls the frequency of the sound
during play.
The envelope gadgets are from left to right: attack-level, attack-time,
sustain1-level, sustain1-time, sustain2-level, sustain2-time and
release-level, and release-time.
/* Procedure */
When WonderSound 1.5 first comes up, there is a request to WAIT so the
necessary tables can be computed. The envelope window then appears.
You must make an envelope before proceeding. Change some of the envelope
gadget positions and then select the close-window gadget to complete the
envelope creation process. This will return you to the harmonic and
phase control window. By selecting "ENVEL" from the menu you may return
to the envelope design window. Remember, selecting the close-window gadget
of the envelope design window is the last step in creating a new envelope.
The system uses an accumulative mixing process whereby each harmonic
computed is combined equally with the previous sound, allowing the
development of arbitrarily complex sounds. For this reason WONDERSOUND
is best used repetitively; changing the phase and harmonic strengths
slightly with each run and/or changing the envelope, thus simulating
the more chaotic evolution of a natural sound. Selecting "WAVIT" from
the menu activates the additive harmonic process.
The display stacks every eight points vertically so sonic regularities
may be visually recognized. Try creating an instrument without changing
the phase angles. This should result in a more ordered mapping and
thus a less subtle musical result.
There is a string gadget on the top left for naming instruments. The
default name is "IO.inst." Selecting "SAVIT" from the menu saves the new
sound as an IFF 8SVX 5 octave instrument.
PHAZING and FLANGING add and subtract (respectively) the sound with itself
starting at the point set with the left control gadget and for the amount set
by the right control gadget. The envelope controls the progress of this
process. A small random element is added to the table lookup so that repeated
PHAZINGS or FLANGINGS will quickly enrich the sound. If the right control
gadget is set at zero, there will be no processing. If the left control
gadget is set at zero, and the left all the way up, the sound will quickly be
enriched by repeated PHAZINGS or FLANGINGS without any change in the sound's
envelope.
KLIPPING creates a distortion process which is controlled by the two control
gadgets. Best experiment with this one. Good punchy beginnings to sounds can
be had with a sharp beginning to the KLIPPING envelope and the left control
gadget up all the way up.
I realize there is still a problem with trailing sounds. When you mix new
envelopes, phase angles, and harmonic strengths, the results are rather
unpredictable. If the release-level for the next envelope is raised far
above zero at the problem point, the mixing process will often cancel out
a trail. Each realization of harmonics and phase angles is mixed with
the previous realization, so raising the envelope at a problem point
can often cancel out unwanted dips in the generated sound's envelope.
FLANGING with the envelope sloping upward can wipe out the unwanted tail
also.
Sorry no loop points, maybe someday...
Yes, I know this is one dirty additive synth... speed before beauty, here...
For your info... the icon is New Orleans Piano Giant - Professor Longhair.
Comments to: GENIE -> J.HARRINGTO7
COMPUSERVE -> 72570,3034
PLINK -> MSU772
And I, the author, Jeffrey Harrington, do hereby again declare that:
/* WonderSound 1.5 may be freely redistributed by all conceivable means. */