\subsubsection{Tutorial}
\seclabel{csound-tut}
\begin{haskelllisting}
> module Haskore.Interface.CSound.Tutorial where
> import Haskore.Interface.CSound.Orchestra
> (SigExp, Mono(Mono), Stereo(Stereo), Output, Name,
> pchToHz, dbToAmp, sigGen, rec, tableNumber, EvalRate(AR, CR),
> osc, oscI, randomI, expon, reverb, vdelay, comb, lineSeg,
> PluckDecayMethod(..), pluck, buzz)
> import Haskore.Interface.CSound.Generator
> (compSine1, compSine2, cubicSpline, lineSeg1)
> import Haskore.Interface.CSound.Score as Score
> import qualified Haskore.Interface.CSound.Orchestra as Orchestra
> import qualified Haskore.Interface.CSound.SoundMap as SoundMap
> import qualified Haskore.Interface.CSound as CSound
> import qualified Haskore.Performance as Performance
> import qualified Haskore.Performance.Context as Context
> import qualified Haskore.Performance.Fancy as FancyPerformance
> import qualified Haskore.Music as Music
> import qualified Haskore.Music.Rhythmic as RhyMusic
> import qualified Numeric.NonNegative.Wrapper as NonNeg
> import Haskore.Basic.Duration
> import Haskore.Music ((+:+), (=:=), qnr)
> import Haskore.Melody as Melody
> import System.IO
> import System.Cmd( system )
\end{haskelllisting}
This brief tutorial is designed to introduce the user to the
capabilities of the CSound software synthesizer and sound synthesis in
general.
\paragraph{Additive Synthesis}
\seclabel{add-syn}
The first part of the tutorial introduces \keyword{additive synthesis}.
Additive synthesis is the most basic, yet the most powerful synthesis
technique available, giving complete control over the sound waveform.
The basic premiss behind additive sound synthesis is quite simple -- defining
a complex sound by specifying each contributing sine wave. The computer is
very good at generating pure tones, but these are not very interesting.
However, any sound imaginable can be reproduced as a sum of pure tones. We
can define an instrument of pure tones easily in Haskore. First we define
a \keyword{Function table} containing a lone sine wave. We can do this using
the \function{simpleSine} function defined in the \module{CSound.Orchestra} module:
\begin{haskelllisting}
> pureToneTN :: Score.Table
> pureToneTN = 1
> pureToneTable :: SigExp
> pureToneTable = tableNumber pureToneTN
> pureTone :: Score.Statement
> pureTone = Score.Table pureToneTN 0 8192 True (compSine1 [1.0])
> oscPure :: SigExp -> SigExp -> SigExp
> oscPure = osc AR pureToneTable
\end{haskelllisting}
\code{pureToneTN} is the table number of the simple sine wave. We will
adopt the convention in this tutorial that variables ending with \code{TN}
represent table numbers.
Recall that \function{compSine1} is defined in the module \module{CSound} as a
sine wave generating routine (\refgen{10}). In order to have a complete
score file, we also need a tune. Here is a simple example:
\begin{haskelllisting}
> type TutMelody params = Melody.T (TutAttr params)
>
> data TutAttr params =
> TutAttr {attrVelocity :: Rational,
> attrParameters :: params}
>
> tune1 :: TutMelody ()
> tune1 = Music.line (map ($ TutAttr 1.5 ())
> [ c 1 hn, e 1 hn, g 1 hn,
> c 2 hn, a 1 hn, c 2 qn,
> a 1 qn, g 1 dhn ] ++ [qnr])
\end{haskelllisting}
The next step is to convert the melody into a music.
In our simple tutorial we have only one instrument per song
in all but one case.
So we could skip this step,
but we want to include it in order to show the general processing steps.
We use the general data type for rhythmic music,
with no drum definitions (null type \type{()})
and a custom instrument definition \type{Instrument}.
We use only the instrument numbers 1 and 2
but the numbers are associated with different sounds in the examples.
\begin{haskelllisting}
> data Instrument =
> Instr1p0
> | Instr2p0
> | Instr1p2 Float Float
> | Instr1p4 Float Float Float Float
> deriving (Eq, Ord, Show)
>
> musicFromMelody :: (params -> Instrument) ->
> TutMelody params -> RhyMusic.T () Instrument
> musicFromMelody instr =
> RhyMusic.fromMelody
> (\(TutAttr vel params) -> (vel, instr params))
\end{haskelllisting}
The melody contains instrument specific parameters.
They will be embedded in \type{Instrument} values
by the following functions.
These functions can be used as \code{instr} arguments
to \function{musicFromMelody}.
\begin{haskelllisting}
> type Pair = (Float, Float)
> type Quadruple = (Float, Float, Float, Float)
>
> attrToInstr1p0 :: () -> Instrument
> attrToInstr1p0 () = Instr1p0
>
> attrToInstr2p0 :: () -> Instrument
> attrToInstr2p0 () = Instr2p0
>
> attrToInstr1p2 :: Pair -> Instrument
> attrToInstr1p2 = uncurry Instr1p2
>
> attrToInstr1p4 :: Quadruple -> Instrument
> attrToInstr1p4 (x,y,z,w) = Instr1p4 x y z w
\end{haskelllisting}
There is nothing special about the conversion
from the music to the performance.
\begin{haskelllisting}
> performanceFromMusic :: RhyMusic.T () Instrument ->
> Performance.T NonNeg.Float Float (RhyMusic.Note () Instrument)
> performanceFromMusic =
> FancyPerformance.fromMusicModifyContext (Context.setDur 1)
\end{haskelllisting}
Now we convert from the performance to the CSound score.
To this end we must convert the instruments represented by \type{Instrument}
to sound numbers and parameter fields.
A \type{SoundMap.InstrumentTableWithAttributes out Instrument}
must be generated for the conversion.
The functions like \function{instrAssoc1p0}
generate one entry for the table
which assigns an instrument number and a sound algorithm
to a constructor of \type{Instrument}.
\begin{haskelllisting}
> type TutOrchestra out =
> (Orchestra.Header, SoundMap.InstrumentTableWithAttributes out Instrument)
> instrNum1, instrNum2 :: CSound.Instrument
> instrNum1 = CSound.instrument 1
> instrNum2 = CSound.instrument 2
> instrAssoc1p0 :: SoundMap.InstrumentSigExp out ->
> SoundMap.InstrumentAssociation out Instrument
> instrAssoc1p0 =
> SoundMap.instrument instrNum1
> (\i -> do Instr1p0 <- Just i; Just ())
>
> instrAssoc2p0 :: SoundMap.InstrumentSigExp out ->
> SoundMap.InstrumentAssociation out Instrument
> instrAssoc2p0 =
> SoundMap.instrument instrNum2
> (\i -> do Instr2p0 <- Just i; Just ())
>
> instrAssoc1p2 :: (SigExp -> SigExp -> SoundMap.InstrumentSigExp out) ->
> SoundMap.InstrumentAssociation out Instrument
> instrAssoc1p2 =
> SoundMap.instrument2 instrNum1
> (\i -> do Instr1p2 x y <- Just i; Just (x,y))
>
> instrAssoc1p4 :: (SigExp -> SigExp -> SigExp -> SigExp -> SoundMap.InstrumentSigExp out) ->
> SoundMap.InstrumentAssociation out Instrument
> instrAssoc1p4 =
> SoundMap.instrument4 instrNum1
> (\i -> do Instr1p4 x y z w <- Just i; Just (x,y,z,w))
\end{haskelllisting}
The function \function{scored} puts
the chain from melody to CSound score together.
Finally the function \function{example} collects
music and instrument definitions,
that is a complete example.
\begin{haskelllisting}
> scored :: TutOrchestra out -> (params -> Instrument) ->
> TutMelody params -> Score.T
> scored (_,sndMap) instr =
> Score.fromRhythmicPerformanceWithAttributes
> (error "no drum map defined") sndMap .
> performanceFromMusic .
> musicFromMelody instr
>
> example :: Name -> (TutOrchestra out -> Score.T) -> TutOrchestra out ->
> (Name, Score.T, TutOrchestra out)
> example name mkScore orc = (name, mkScore orc, orc)
\end{haskelllisting}
Let's define an instrument in the orchestra file that will use the function
table \code{pureTone}:
\begin{haskelllisting}
> oe1 :: SoundMap.InstrumentSigExp Mono
> oe1 _noteDur noteVel notePit =
> let signal = oscPure (dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> score1 orc = pureTone : scored orc attrToInstr1p0 tune1
\end{haskelllisting}
This instrument will simply oscillate through the function table
containing the sine wave at the appropriate frequency given by
\code{notePit}, and the resulting sound will have an amplitude given by
\code{noteVel}.
Note that the \code{oe1} expression above is a \code{Mono}, not a complete
\code{TutOrchestra}. We need to define a \keyword{header} and associate \code{oe1}
with the instrument that's playing it:
\begin{haskelllisting}
> hdr :: Orchestra.Header
> hdr = (44100, 4410)
>
> o1, o2, o3, o4, o7, o8, o9, o13, o14, o15, o19, o22
> :: TutOrchestra Mono
> o5, o6, o10, o11, o12, o16, o17, o18, o20, o21
> :: TutOrchestra Stereo
>
> tut1, tut2, tut3, tut4, tut7, tut8, tut9, tut13, tut14, tut15, tut19, tut22
> :: (Name, Score.T, TutOrchestra Mono)
> tut5, tut6, tut10, tut11, tut12, tut16, tut17, tut18, tut20, tut21
> :: (Name, Score.T, TutOrchestra Stereo)
>
> score1, score2, score3, score4, score5, score6, score7, score8, score9
> :: TutOrchestra out -> [Score.Statement]
>
> o1 = (hdr, [instrAssoc1p0 oe1])
\end{haskelllisting}
The header above indicates that the audio signals are generated at
44,100 Hz (CD quality), the control signals are generated at 4,410 Hz, and
there are 2 output channels for stereo sound.
Now we have a complete score and orchestra that can be converted to a
sound file by CSound and played as follows:
\begin{haskelllisting}
> csoundDir :: Name
> csoundDir = "src/Test/CSound"
>
>
> tut1 = example "tut01" score1 o1
\end{haskelllisting}
If you listen to the tune, you will notice that it sounds very thin
and uninteresting. Most musical sounds are not pure. Instead they usually
contain a sine wave of dominant frequency, called a \keyword{fundamental}, and
a number of other sine waves called \keyword{partials}. Partials with
frequencies that are integer multiples of the fundamental are called
\keyword{harmonics}. In musical terms, the first harmonic lies an octave above
the fundamental, second harmonic a fifth above the first one, the third
harmonic lies a major third above the second harmonic etc. This is the
familiar \keyword{overtone series}. We can add harmonics to our sine wave
instrument easily using the \function{compSine} function defined in the
\module{CSound.Orchestra} module. The function takes a list of harmonic strengths as
arguments. The following creates a function table containing the
fundamental and the first two harmonics at two thirds and one third of the
strength of the fundamental:
\begin{haskelllisting}
> twoHarmsTN :: Score.Table
> twoHarmsTN = 2
> twoHarms :: Score.Statement
> twoHarms = Score.Table twoHarmsTN 0 8192 True (compSine1 [1.0, 0.66, 0.33])
\end{haskelllisting}
We can again proceed to create complete score and orchestra files as above:
\begin{haskelllisting}
> score2 orc = twoHarms : scored orc attrToInstr1p0 tune1
>
> oe2 :: SoundMap.InstrumentSigExp Mono
> oe2 _noteDur noteVel notePit =
> let signal = osc AR (tableNumber twoHarmsTN)
> (dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> o2 = (hdr, [instrAssoc1p0 oe2])
>
> tut2 = example "tut02" score2 o2
\end{haskelllisting}
The orchestra file is the same as before -- a single oscillator scanning
a function table at a given frequency and volume. This time, however, the
tune will not sound as thin as before since the table now contains a
function that is an addition of three sine waves. (Note that the same effect
could be achieved using a simple sine wave table and three oscillators).
Not all musical sounds contain harmonic partials exclusively, and
never do we encounter instruments with static amplitude envelope like the
ones we have seen so far. Most sounds, musical or not, evolve and change
throughout their duration. Let's define an instrument containing both
harmonic and nonharmonic partials, that starts at maximum amplitude with a
straight line decay. We will use the function \function{compSine2} from the
\module{CSound.Orchestra} module to create the function table. \function{compSine2} takes a
list of triples as an argument. The triples specify the partial number as
a multiple of the fundamental, relative partial strength, and initial phase
offset:
\begin{haskelllisting}
> manySinesTN :: Score.Table
> manySinesTN = 3
> manySinesTable :: SigExp
> manySinesTable = tableNumber manySinesTN
> manySines :: Score.Statement
> manySines = Score.Table manySinesTN 0 8192 True (compSine2 [(0.5, 0.9, 0.0),
> (1.0, 1.0, 0.0), (1.1, 0.7, 0.0), (2.0, 0.6, 0.0),
> (2.5, 0.3, 0.0), (3.0, 0.33, 0.0), (5.0, 0.2, 0.0)])
\end{haskelllisting}
Thus this complex will contain the second, third, and fifth harmonic,
nonharmonic partials at frequencies of 1.1 and 2.5 times the fundamental,
and a component at half the frequency of the fundamental. Their strengths
relative to the fundamental are given by the second argument, and they all
start in sync with zero offset.
Now we can proceed as before to create score and orchestra files. We
will define an \keyword{amplitude envelope} to apply to each note as we
oscillate through the table. The amplitude envelope will be a straight line
signal ramping from 1.0 to 0.0 over the duration of the note. This signal
will be generated at \keyword{control rate} rather than audio rate, because the
control rate is more than sufficient (the audio signal will change volume
4,410 times a second), and the slower rate will improve performance.
\begin{haskelllisting}
> score3 orc = manySines : scored orc attrToInstr1p0 tune1
>
> lineCS :: EvalRate -> SigExp -> SigExp
> -> SigExp -> SigExp
> lineCS = Orchestra.line
>
> oe3 :: SoundMap.InstrumentSigExp Mono
> oe3 noteDur noteVel notePit =
> let ampEnv = lineCS CR 1.0 noteDur 0.0
> signal = osc AR manySinesTable
> (ampEnv * dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> o3 = (hdr, [instrAssoc1p0 oe3])
>
> tut3 = example "tut03" score3 o3
\end{haskelllisting}
Not only do musical sounds usually evolve in terms of overall
amplitude, they also evolve their \keyword{spectra}. In other words, the
contributing partials do not usually all have the same amplitude envelope,
and so their contribution to the overall sound isn't static. Let us
illustrate the point using the same set of partials as in the above example.
Instead of creating a table containing a complex waveform, however, we will
use multiple oscillators going through the simple sine wave table we created
at the beginning of this tutorial at the appropriate frequencies. Thus
instead of the partials being fused together, each can have its own
amplitude envelope, making the sound evolve over time. The score will be
score1, defined above.
\begin{haskelllisting}
> oe4 :: SoundMap.InstrumentSigExp Mono
> oe4 noteDur noteVel notePit =
> let pitch = pchToHz notePit
> amp = dbToAmp noteVel
> mkLine t = lineSeg CR 0 (noteDur*t) 1 [(noteDur * (1t), 0)]
> aenv1 = lineCS CR 1 noteDur 0
> aenv2 = mkLine 0.17
> aenv3 = mkLine 0.33
> aenv4 = mkLine 0.50
> aenv5 = mkLine 0.67
> aenv6 = mkLine 0.83
> aenv7 = lineCS CR 0 noteDur 1
> mkOsc ae p = oscPure (ae * amp) (pitch * p)
> a1 = mkOsc aenv1 0.5
> a2 = mkOsc aenv2 1.0
> a3 = mkOsc aenv3 1.1
> a4 = mkOsc aenv4 2.0
> a5 = mkOsc aenv5 2.5
> a6 = mkOsc aenv6 3.0
> a7 = mkOsc aenv7 5.0
> out = 0.5 * (a1 + a2 + a3 + a4 + a5 + a6 + a7)
> in Mono out
>
> o4 = (hdr, [instrAssoc1p0 oe4])
>
> tut4 = example "tut04" score1 o4
\end{haskelllisting}
So far, we have only used function tables to generate audio signals,
but they can come very handy in \keyword{modifying} signals. Let us create a
function table that we can use as an amplitude envelope to make our
instrument more interesting. The envelope will contain an immediate sharp
attack and decay, and then a second, more gradual one, so we'll have two
attack/decay events per note. We'll use the cubic spline curve generating
routine to do this:
\begin{haskelllisting}
> coolEnvTN :: Score.Table
> coolEnvTN = 4
> coolEnvTable :: SigExp
> coolEnvTable = tableNumber coolEnvTN
> coolEnv :: Score.Statement
> coolEnv = Score.Table coolEnvTN 0 8192 True
> (cubicSpline 1 [(1692, 0.2), (3000, 1), (3500, 0)])
> oscCoolEnv :: SigExp -> SigExp -> SigExp
> oscCoolEnv = osc CR coolEnvTable
\end{haskelllisting}
Let us also add some \keyword{p-fields} to the notes in our score. The two
p-fields we add will be used for \keyword{panning} -- the first one will be the
starting percentage of the left channel, the second one the ending
percentage (1 means all left, 0 all right, 0.5 middle. Pfields of 1 and 0
will cause the note to pan completely from left to right for example)
\begin{haskelllisting}
> tune2 :: TutMelody Pair
> tune2 =
> let attr start end = TutAttr 1.4 (start, end)
> in c 1 hn (attr 1.0 0.75) +:+
> e 1 hn (attr 0.75 0.5) +:+
> g 1 hn (attr 0.5 0.25) +:+
> c 2 hn (attr 0.25 0.0) +:+
> a 1 hn (attr 0.0 1.0) +:+
> c 2 qn (attr 0.0 0.0) +:+
> a 1 qn (attr 1.0 1.0) +:+
> (g 1 dhn (attr 1.0 0.0) =:=
> g 1 dhn (attr 0.0 1.0))+:+ qnr
\end{haskelllisting}
So far we have limited ourselves to using only sine waves for our
audio output, even though Csound places no such restrictions on us. Any
repeating waveform, of any shape, can be used to produce pitched sounds.
In essence, when we are adding sinewaves, we are changing the shape of the
wave. For example, adding odd harmonics to a fundamental at strengths equal
to the inverse of their partial number (ie. third harmonic would be 1/3 the
strength of the fundamental, fifth harmonic 1/5 the fundamental etc) would
produce a \keyword{square} wave which has a raspy sound to it. Another common
waveform is the \keyword{sawtooth}, and the more mellow sounding \keyword{triangle}.
The \module{CSound.Orchestra} module already contains functions to create these common
waveforms. Let's use them to create tables that we can use in an instrument:
\begin{haskelllisting}
> triangleTN, squareTN, sawtoothTN :: Score.Table
> triangleTN = 5
> squareTN = 6
> sawtoothTN = 7
> triangleT, squareT, sawtoothT :: Score.Statement
> triangleT = triangle triangleTN
> squareT = square squareTN
> sawtoothT = sawtooth sawtoothTN
>
> score4 orc = squareT : triangleT : sawtoothT : coolEnv :
> scored orc attrToInstr1p2 (Music.changeTempo 0.5 tune2)
>
> oe5 :: SigExp -> SigExp -> SoundMap.InstrumentSigExp Stereo
> oe5 panStart panEnd noteDur noteVel notePit =
> let pitch = pchToHz notePit
> amp = dbToAmp noteVel
> pan = lineCS CR panStart noteDur panEnd
> oscF = 1 / noteDur
> ampen = oscCoolEnv amp oscF
> signal = osc AR (tableNumber squareTN) ampen pitch
> left = signal * pan
> right = signal * (1pan)
> in Stereo left right
>
> o5 = (hdr, [instrAssoc1p2 oe5])
>
> tut5 = example "tut05" score4 o5
\end{haskelllisting}
This will oscillate through a table containing the square wave.
Check out the other waveforms too and see what they sound like. This can be
done by specifying the table to be used in the orchestra file.
As our last example of additive synthesis, we will introduce an
orchestra with multiple instruments. The bass will be mostly in the left
channel, and will be the same as the third example instrument in this
section. It will play the tune two octaves below the instrument in the right
channel, using an orchestra identical to \code{oe3} with the addition of the
panning feature:
\begin{haskelllisting}
> score5 orc = manySines : pureTone : scored orc attrToInstr1p0 tune1 ++
> scored orc attrToInstr2p0 tune1
>
> oe6 :: SoundMap.InstrumentSigExp Stereo
> oe6 noteDur noteVel notePit =
> let ampEnv = lineCS CR 1.0 noteDur 0.0
> signal = osc AR manySinesTable
> (ampEnv * dbToAmp noteVel) (pchToHz (notePit 2))
> left = 0.8 * signal
> right = 0.2 * signal
> in Stereo left right
>
> oe7 :: SoundMap.InstrumentSigExp Stereo
> oe7 noteDur noteVel notePit =
> let pitch = pchToHz notePit
> amp = dbToAmp noteVel
> mkLine t = lineSeg CR 0 (noteDur*t) 0.5 [(noteDur * (1t), 0)]
> aenv1 = lineCS CR 0.5 noteDur 0
> aenv2 = mkLine 0.17
> aenv3 = mkLine 0.33
> aenv4 = mkLine 0.50
> aenv5 = mkLine 0.67
> aenv6 = mkLine 0.83
> aenv7 = lineCS CR 0 noteDur 0.5
> mkOsc ae p = oscPure (ae * amp) (pitch * p)
> a1 = mkOsc aenv1 0.5
> a2 = mkOsc aenv2 1.0
> a3 = mkOsc aenv3 1.1
> a4 = mkOsc aenv4 2.0
> a5 = mkOsc aenv5 2.5
> a6 = mkOsc aenv6 3.0
> a7 = mkOsc aenv7 5.0
> left = 0.2 * (a1 + a2 + a3 + a4 + a5 + a6 + a7)
> right = 0.8 * (a1 + a2 + a3 + a4 + a5 + a6 + a7)
> in Stereo left right
>
> o6 = (hdr, [instrAssoc1p0 oe6, instrAssoc2p0 oe7])
>
> tut6 = example "tut06" score5 o6
\end{haskelllisting}
Additive synthesis is the most powerful tool in computer music and
sound synthesis in general. It can be used to create any sound imaginable,
whether completely synthetic or a simulation of a real-world sound, and
everyone interested in using the computer to synthesize sound should be well
versed in it. The most significant drawback of additive synthesis is that it
requires huge amounts of control data, and potentially thousands of
oscillators. There are other synthesis techniques, such as
\keyword{modulation synthesis}, that can be used to create rich and interesting
timbres at a fraction of the cost of additive synthesis, though no other
synthesis technique provides quite the same degree of control.
\paragraph{Modulation Synthesis}
\seclabel{mod-syn}
While additive synthesis provides full control and great flexibility,
it is quiet clear that the enormous amounts of control data make it
impractical for even moderately complicated sounds. There is a class of
synthesis techniques that use \keyword{modulation} to produce rich, time-varying
timbres at a fraction of the storage and time cost of additive synthesis.
The basic idea behind modulation synthesis is controlling the
amplitude and/or frequency of the main periodic signal, called the
\keyword{carrier}, by another periodic signal, called the \keyword{modulator}.
The two main kinds of modulation synthesis are \keyword{amplitude modulation}
and \keyword{frequency modulation} synthesis. Let's start our discussion with
the simpler one of the two -- amplitude synthesis.
We have already shown how to supply a time varying amplitude envelope
to an oscillator. What would happen if this amplitude envelope was itself
an oscillating signal? Supplying a low frequency ($<20$Hz) modulating signal
would create a predictable effect -- we would hear the volume of the carrier
signal go periodically up and down. However, as the modulator moves into the
audible frequency range, the carrier changes timbre as new frequencies
appear in the spectrum. The new frequencies are equal to the sum and
difference of the carrier and modulator. So for example, if the frequency of
the main signal (carrier) is C = 500Hz, and the frequency of the modulator
is M = 100Hz, the audible frequencies will be the carrier C (500Hz),
C + M (600Hz), and C - M (400Hz). The amplitude of the two new sidebands
depends on the amplitude of the modulator, but will never exceed half the
amplitude of the carrier.
The following is a simple example that demonstrates amplitude
modulation. The carrier will be a 10 second pure tone at 500Hz. The
frequency of the modulator will increase linearly over the 10 second
duration of the tone from 0 to 200 Hz. Initially, you will be able to hear
the volume of the signal fluctuate, but after a couple of seconds the volume
will seem constant as new frequencies appear.
Let us first create the score file. It will contain a sine wave table,
and a single note event:
\begin{haskelllisting}
> score6 _ =
> pureTone : [ Score.Note instrNum1 0.0 10.0 (Cps 500.0) 10000.0 [] ]
\end{haskelllisting}
The orchestra will contain a single AM instrument. The carrier will
simply oscillate through the sine wave table at frequency given by the note
pitch (500Hz, see the score above), and amplitude given by the modulator.
The modulator will oscillate through the same sine wave table at frequency
ramping from 0 to 200Hz. The modulator should be a periodic signal that
varies from 0 to the maximum volume of the carrier. Since the sine wave goes
from -1 to 1, we will need to add 1 to it and half it, before multiplying it
by the volume supplied by the note event. This will be the modulating
signal, and the carrier's amplitude input. (note that we omit the conversion
functions dbToAmp and notePit, since we supply the amplitude and frequency
in their raw units in the score file)
\begin{haskelllisting}
> oe8 :: SoundMap.InstrumentSigExp Mono
> oe8 noteDur noteVel notePit =
> let modFreq = lineCS CR 0.0 noteDur 200.0
> modAmp = oscPure 1.0 modFreq
> modSig = (modAmp + 1.0) * 0.5 * noteVel
> carrier = oscPure modSig notePit
> in Mono carrier
>
> o7 = (hdr, [instrAssoc1p0 oe8])
>
> tut7 = example "tut07" score6 o7
\end{haskelllisting}
Next synthesis technique on the palette is \keyword{frequency modulation}.
As the name suggests, we modulate the frequency of the carrier. Frequency
modulation is much more powerful and interesting than amplitude modulation,
because instead of getting two sidebands, FM gives a {\em number} of
spectral sidebands. Let us begin with an example of a simple FM. We will
again use a single 10 second note and a 500Hz carrier. Remember that when we
talked about amplitude modulation, the amplitude of the sidebands was
dependent upon the amplitude of the modulator. In FM, the modulator
amplitude plays a much bigger role, as we will see soon. To negate the
effect of the modulator amplitude, we will keep the ratio of the modulator
amplitude and frequency constant at 1.0 (we will explain shortly why). The
frequency and amplitude of the modulator will ramp from 0 to 200 over the
duration of the note. This time, though, unlike with AM, we will hear a
whole series of sidebands. The orchestra is just as before, except we
modulate the frequency instead of amplitude.
\begin{haskelllisting}
> oe9 :: SoundMap.InstrumentSigExp Mono
> oe9 noteDur noteVel notePit =
> let modFreq = lineCS CR 0.0 noteDur 200.0
> modAmp = modFreq
> modSig = oscPure modAmp modFreq
> carrier = oscPure noteVel (notePit + modSig)
> in Mono carrier
>
> o8 = (hdr, [instrAssoc1p0 oe9])
>
> tut8 = example "tut08" score6 o8
\end{haskelllisting}
The sound produced by FM is a little richer but still very bland. Let
us talk now about the role of the \keyword{depth} of the frequency modulation
(the amplitude of the modulator). Unlike in AM, where we only had one
spectral band on each side of the carrier frequency (ie we heard C, C+M,
C-M), FM gives a much richer spectrum with many sidebands. The frequencies
we hear are C, C+M, C-M, C+2M, C-2M, C+3M, C-3M etc. The amplitudes of the
sidebands are determined by the \keyword{modulation index} I, which is the ratio
between the amplitude (also referred to as depth) and frequency of the
modulator (I = D / M). As a rule of thumb, the number of significant
sideband pairs (at least 1% the volume of the carrier) is I+1. As I (and the
number of sidebands) increases, energy is "stolen" from the carrier and
distributed among the sidebands. Thus if I=1, we have 2 significant sideband
pairs, and the audible frequencies will be C, C+M, C-M, C+2M, C-2M, with C,
the carrier, being the dominant frequency. When I=5, we will have a much
richer sound with about 6 significant sideband pairs, some of which will
actually be louder than the carrier. Let us explore the effect of the
modulation index in the following example. We will keep the frequency of
the carrier and the modulator constant at 500Hz and 80 Hz respectively.
The modulation index will be a stepwise function from 1 to 10, holding each
value for one second. So in effect, during the first second (I = D/M = 1),
the amplitude of the modulator will be the same as its frequency (80).
During the second second (I = 2), the amplitude will be double the frequency
(160), then it will go to 240, 320, etc:
\begin{haskelllisting}
> oe10 :: SoundMap.InstrumentSigExp Mono
> oe10 _noteDur noteVel notePit =
> let modInd = lineSeg CR 1 1 1 [(0,2), (1,2), (0,3), (1,3), (0,4),
> (1,4), (0,5), (1,5), (0,6), (1,6),
> (0,7), (1,7), (0,8), (0,9), (1,9),
> (0,10), (1,10)]
> modAmp = 80.0 * modInd
> modSig = oscPure modAmp 80.0
> carrier = oscPure noteVel (notePit + modSig)
> in Mono carrier
>
> o9 = (hdr, [instrAssoc1p0 oe10])
>
> tut9 = example "tut09" score6 o9
\end{haskelllisting}
Notice that when the modulation index gets high enough, some of the
sidebands have negative frequencies. For example, when the modulation index
is 7, there is a sideband present in the sound with a frequency
C - 7M = 500 - 560 = -60Hz. The negative sidebands get reflected back into
the audible spectrum but are \keyword{phase shifted} 180 degrees, so it is an
inverse sine wave. This makes no difference when the wave is on its own, but
when we add it to its inverse, the two will cancel out. Say we set the
frequency of the carrier at 100Hz instead of 80Hz. Then at I=6, we would
have present two sidebands of the same frequency - C-4M = 100Hz, and
C-6M = -100Hz. When these two are added, they would cancel each other out
(if they were the same amplitude; if not, the louder one would be attenuated
by the amplitude of the softer one). The following flexible instrument will
sum up simple FM. The frequency of the modulator will be determined by the
C/M ratio supplied as p6 in the score file. The modulation index will be a
linear slope going from 0 to p7 over the duration of each note. Let us also
add panning control as in additive synthesis - p8 will be the initial left
channel percentage, and p9 the final left channel percentage:
\begin{haskelllisting}
> oe11 :: SigExp -> SigExp -> SigExp -> SigExp -> SoundMap.InstrumentSigExp Stereo
> oe11 modFreqRatio modIndEnd panStart panEnd noteDur noteVel notePit =
> let carFreq = pchToHz notePit
> carAmp = dbToAmp noteVel
> modFreq = carFreq * modFreqRatio
> modInd = lineCS CR 0 noteDur modIndEnd
> modAmp = modFreq * modInd
> modSig = oscPure modAmp modFreq
> carrier = oscPure carAmp (carFreq + modSig)
> mainAmp = oscCoolEnv 1.0 (1/noteDur)
> pan = lineCS CR panStart noteDur panEnd
> left = mainAmp * pan * carrier
> right = mainAmp * (1 pan) * carrier
> in Stereo left right
>
> o10 = (hdr, [instrAssoc1p4 oe11])
\end{haskelllisting}
Let's write a cool tune to show off this instrument. Let's keep it
simple and play the chord progression Em - C - G - D a few times, each time
changing some of the parameters:
\begin{haskelllisting}
> emChord, cChord, gChord, dChord ::
> Float -> Float -> Float -> Float ->
> TutMelody Quadruple
>
> quickChord ::
> [Music.Dur -> TutAttr Quadruple -> TutMelody Quadruple] ->
> Float -> Float -> Float -> Float ->
> TutMelody Quadruple
> quickChord ns x y z w = Music.chord $
> map (\p -> p wn (TutAttr 1.4 (x, y, z, w))) ns
>
> emChord = quickChord [e 0, g 0, b 0]
> cChord = quickChord [c 0, e 0, g 0]
> gChord = quickChord [g 0, b 0, d 1]
> dChord = quickChord [d 0, fs 0, a 0]
>
> tune3 :: TutMelody Quadruple
> tune3 =
> Music.transpose (12) $
> emChord 3.0 2.0 0.0 1.0 +:+ cChord 3.0 5.0 1.0 0.0 +:+
> gChord 3.0 8.0 0.0 1.0 +:+ dChord 3.0 12.0 1.0 0.0 +:+
> emChord 3.0 4.0 0.0 0.5 +:+ cChord 5.0 4.0 0.5 1.0 +:+
> gChord 8.0 4.0 1.0 0.5 +:+ dChord 10.0 4.0 0.5 0.0 +:+
> (emChord 4.0 6.0 1.0 0.0 =:= emChord 7.0 5.0 0.0 1.0) +:+
> (cChord 5.0 9.0 1.0 0.0 =:= cChord 9.0 5.0 0.0 1.0) +:+
> (gChord 5.0 5.0 1.0 0.0 =:= gChord 7.0 7.0 0.0 1.0) +:+
> (dChord 2.0 3.0 1.0 0.0 =:= dChord 7.0 15.0 0.0 1.0)
\end{haskelllisting}
Now we can create a score. It will contain two wave tables -- one
containing the sine wave, and the other containing an amplitude envelope,
which will be the table coolEnv which we have already seen before
\begin{haskelllisting}
> score7 orc = pureTone : coolEnv :
> scored orc attrToInstr1p4 (Music.changeTempo 0.5 tune3)
>
> tut10 = example "tut10" score7 o10
\end{haskelllisting}
Note that all of the above examples of frequency modulation use a
single carrier and a single modulator, and both are oscillating through the
simplest of waveforms -- a sine wave. Already we have achieved some very rich
and interesting timbres using this simple technique, but the possibilities
are unlimited when we start using different carrier and modulator waveshapes
and multiple carriers and/or modulators. Let us include a couple more
examples that will play the same chord progression as above with multiple
carriers, and then with multiple modulators.
The reason for using multiple carriers is to obtain
{/em formant regions} in the spectrum of the sound. Recall that when we
modulate a carrier frequency we get a spectrum with a central peak and a
number of sidebands on either side of it. Multiple carriers introduce
additional peaks and sidebands into the composite spectrum of the resulting
sound. These extra peaks are called formant regions, and are characteristic
of human voice and most musical instruments
\begin{haskelllisting}
> oe12 :: SigExp -> SigExp -> SigExp -> SigExp -> SoundMap.InstrumentSigExp Stereo
> oe12 modFreqRatio modIndEnd panStart panEnd noteDur noteVel notePit =
> let car1Freq = pchToHz notePit
> car2Freq = pchToHz (notePit + 1)
> car1Amp = dbToAmp noteVel
> car2Amp = dbToAmp noteVel * 0.7
> modFreq = car1Freq * modFreqRatio
> modInd = lineCS CR 0 noteDur modIndEnd
> modAmp = modFreq * modInd
> modSig = oscPure modAmp modFreq
> carrier1 = oscPure car1Amp (car1Freq + modSig)
> carrier2 = oscPure car2Amp (car2Freq + modSig)
> mainAmp = oscCoolEnv 1.0 (1/noteDur)
> pan = lineCS CR panStart noteDur panEnd
> left = mainAmp * pan * (carrier1 + carrier2)
> right = mainAmp * (1 pan) * (carrier1 + carrier2)
> in Stereo left right
>
> o11 = (hdr, [instrAssoc1p4 oe12])
>
> tut11 = example "tut11" score7 o11
\end{haskelllisting}
In the above example, there are two formant regions -- one is centered
around the note pitch frequency provided by the score file, the other an
octave above. Both are modulated in the same way by the same modulator. The
sound is even richer than that obtained by simple FM.
Let us now turn to multiple modulator FM. In this case, we use a
signal to modify another signal, and the modified signal will itself become
a modulator acting on the carrier. Thus the wave that wil be modulating the
carrier is not a sine wave as above, but is itself a complex waveform
resulting from simple FM. The spectrum of the sound will contain a central
peak frequency, surrounded by a number of sidebands, but this time each
sideband will itself also by surrounded by a number of sidebands of its own.
So in effect we are talking about "double" modulation, where each sideband
is a central peak in its own little spectrum. Multiple modulator FM thus
provides extremely rich spectra
\begin{haskelllisting}
> oe13 :: SigExp -> SigExp -> SigExp -> SigExp -> SoundMap.InstrumentSigExp Stereo
> oe13 modFreqRatio modIndEnd panStart panEnd noteDur noteVel notePit =
> let carFreq = pchToHz notePit
> carAmp = dbToAmp noteVel
> mod1Freq = carFreq * modFreqRatio
> mod2Freq = mod1Freq * 2.0
> modInd = lineCS CR 0 noteDur modIndEnd
> mod1Amp = mod1Freq * modInd
> mod2Amp = mod1Amp * 3.0
> mod1Sig = oscPure mod1Amp mod1Freq
> mod2Sig = oscPure mod2Amp (mod2Freq + mod1Sig)
> carrier = oscPure carAmp (carFreq + mod2Sig)
> mainAmp = oscCoolEnv 1.0 (1/noteDur)
> pan = lineCS CR panStart noteDur panEnd
> left = mainAmp * pan * carrier
> right = mainAmp * (1 pan) * carrier
> in Stereo left right
>
> o12 = (hdr, [instrAssoc1p4 oe13])
>
> tut12 = example "tut12" score7 o12
\end{haskelllisting}
In fact, the spectra produced by multiple modulator FM are so rich and
complicated that even the moderate values used as arguments in our tune
produce spectra that are saturated and otherworldly. And we did this while
keeping the ratios of the two modulators frequencies and amplitudes
constant; introducing dynamics in those ratios would produce even crazier
results. It is quite amazing that from three simple sine waves, the purest
of all tones, we can derive an unlimited number of timbres. Modulation
synthesis is a very powerful tool and understanding how to use it can prove
invaluable. The best way to learn how to use FM effectively is to dabble and
experiment with different ratios, formant regions, dynamic relationships
betweeen ratios, waveshapes, etc. The possibilities are limitless.
\paragraph{Other Capabilities Of CSound}
\seclabel{other}
In our examples of additive and modulation synthesis we only used a
limited number of functions and routines provided us by CSound, such as
Osc (oscillator), Line and LineSig (line and line segment signal
generators) etc. This tutorial intends to briefly explain the
functionality of some of the other features of CSound. Remember that the
CSound manual should be the ultimate reference when it comes to using
these functions.
Let us start with the two functions \function{buzz} and \function{genBuzz}.
These functions will produce a set of harmonically related cosines. Thus
they really implement simple additive synthesis, except that the number of
partials can be varied dynamically through the duration of the note,
rather than staying fixed as in simple additive synthesis. As an example,
let us perform the tune defined at the very beginning of the tutorial using
an instrument that will play each note by starting off with the fundamental
and 70 harmonics, and ending with simply the sine wave fundamental (note
that cosine and sine waves sound the same). We will use a straight line
signal going from 70 to 0 over the duration of each note for the number of
harmonics. The score used will be score1, and the orchestra will be:
\begin{haskelllisting}
> oe14 :: SoundMap.InstrumentSigExp Mono
> oe14 noteDur noteVel notePit =
> let numharms = lineCS CR 70 noteDur 0
> signal = buzz pureToneTable numharms
> (dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> o13 = (hdr, [instrAssoc1p0 oe14])
>
> tut13 = example "tut13" score1 o13
\end{haskelllisting}
Let's invert the line of the harmonics, and instead of going from 70
to 0, make it go from 0 to 70. This will produce an interesting effect
quite different from the one just heard:
\begin{haskelllisting}
> oe15 :: SoundMap.InstrumentSigExp Mono
> oe15 noteDur noteVel notePit =
> let numharms = lineCS CR 0 noteDur 70
> signal = buzz pureToneTable numharms
> (dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> o14 = (hdr, [instrAssoc1p0 oe15])
>
> tut14 = example "tut14" score1 o14
\end{haskelllisting}
The \function{buzz} expression takes the overall amplitude, fundamental
frequency, number of partials, and a sine wave table and generates a
wave complex.
In recent years there has been a lot of research conducted in the
area of \keyword{physical modelling}. This technique attempts to approximate the
sound of real world musical instruments through mathematical models. One
of the most widespread, versatile and interesting of these models is the
\keyword{Karplus-Strong algorithm} that simulates the sound of a plucked string.
The algorithm starts off with a buffer containing a user-determined
waveform. On every pass, the waveform is "smoothed out" and flattened by the
algorithm to simulate the decay. There is a certain degree of randomness
involved to make the string sound more natural.
There are six different "smoothing methods" available in CSound, as
mentioned in the CSound module. The \function{pluck} constructor accepts the note
volume, pitch, the table number that is used to initialize the buffer, the
smoothing method used, and two parameters that depend on the smoothing
method. If zero is given as the initializing table number, the buffer starts
off containing a random waveform (white noise). This is the best table when
simulating a string instrument because of the randomness and percussive
attack it produces when used with this algorithm, but you should experiment
with other waveforms as well.
Here is an example of what Pluck sounds like with a white noise buffer
and the simple smoothing method. This method ignores the parameters, which we
set to zero.
\begin{haskelllisting}
> oe16 :: SoundMap.InstrumentSigExp Mono
> oe16 _noteDur noteVel notePit =
> let signal = pluck 0 (pchToHz notePit)
> PluckSimpleSmooth
> (dbToAmp noteVel) (pchToHz notePit)
> in Mono signal
>
> o15 = (hdr, [instrAssoc1p0 oe16])
>
> tut15 = example "tut15" score1 o15
\end{haskelllisting}
The second smoothing method is the \keyword{stretched smooth}, which works
like the simple smooth above, except that the smoothing process is stretched
by a factor determined by the first parameter. The second parameter is
ignored. The third smoothing method is the \keyword{snare drum} method. The
first parameter is the "roughness" parameter, with 0 resulting in a sound
identical to simple smooth, 0.5 being the perfect snare drum, and 1.0 being
the same as simple smooth again with reversed polarity (like a graph flipped
around the x-axis). The fourth smoothing method is the \keyword{stretched drum}
method which combines the roughness and stretch factors -- the first parameter
is the roughness, the second is the stretch. The fifth method is
\keyword{weighted average} -- it combines the current sample (ie. the current pass
through the buffer) with the previous one, with their weights being determined
by the parameters. This is a way to add slight reverb to the plucked sound.
Finally, the last method filters the sound so it doesn't sound as bright.
The parameters are ignored. You can modify the instrument \code{oe16} easily
to listen to all these effects by simply replacing the variable
\function{simpleSmooth} by \function{stretchSmooth, simpleDrum, stretchDrum,
weightedSmooth} or \function{filterSmooth}.
Here is another simple instrument example. This combines a snare drum
sound with a stretched plucked string sound. The snare drum as a constant
amplitude, while we apply an amplitude envelope to the string sound. The
envelope is a spline curve with a hump in the middle, so both the attack and
decay are gradual. The drum roughness factor is 0.3, so a pitch is still
discernible (with a factor of 0.5 we would get a snare drum sound with no
pitch, just a puff of white noise). The drum sound is shifted towards the left
channel, while the string sound is shifted towards the right.
\begin{haskelllisting}
> midHumpTN :: Score.Table
> midHumpTN = 8
> midHump :: Score.Statement
> midHump = Score.Table midHumpTN 0 8192 True
> (cubicSpline 0.0 [(4096, 1.0), (4096, 0.0)])
>
> score8 orc = pureTone : midHump : scored orc attrToInstr1p0 tune1
>
> oe17 :: SoundMap.InstrumentSigExp Stereo
> oe17 noteDur noteVel notePit =
> let string = pluck 0 (pchToHz notePit)
> (PluckStretchSmooth 1.5)
> (dbToAmp noteVel) (pchToHz notePit)
> drum = pluck 0 (pchToHz notePit)
> (PluckSimpleDrum 0.3)
> 6000 (pchToHz notePit)
> ampEnv = osc CR (tableNumber midHumpTN) 1.0 (1 / noteDur)
> left = (0.65 * drum) + (0.35 * ampEnv * string)
> right = (0.35 * drum) + (0.65 * ampEnv * string)
> in Stereo left right
>
> o16 = (hdr, [instrAssoc1p0 oe17])
>
> tut16 = example "tut16" score8 o16
\end{haskelllisting}
Let us now turn our attention to the effects we can achieve using a
\keyword{delay line}.
Let's define a simple percussive instrument.
It's strong attack let us easily perceive the reverberation.
\begin{haskelllisting}
> ping :: SigExp -> SigExp -> SigExp
> ping noteVel notePit =
> let ampEnv = expon CR 1.0 1.0 (1/100)
> in osc AR manySinesTable
> (ampEnv * dbToAmp noteVel) (pchToHz notePit)
\end{haskelllisting}
There is still the problem,
that subsequent notes truncate preceding ones.
This would suppress the reverb.
In order to avoid this
we add a \keyword{legato} effect to the music.
That is we prolong the notes such that they overlap.
\begin{haskelllisting}
> score9 orc = manySines : scored orc attrToInstr1p0 (Music.legato 1 tune1)
\end{haskelllisting}
Here we take the ping sound and add a little echo to it using delay:
\begin{haskelllisting}
> oe18 :: SoundMap.InstrumentSigExp Stereo
> oe18 _noteDur noteVel notePit =
> let ping' = ping noteVel notePit
> dping1 = Orchestra.delay 0.05 ping'
> dping2 = Orchestra.delay 0.1 ping'
> left = (0.65 * ping') + (0.35 * dping2) + (0.5 * dping1)
> right = (0.35 * ping') + (0.65 * dping2) + (0.5 * dping1)
> in Stereo left right
>
> o17 = (hdr, [instrAssoc1p0 oe18])
>
> tut17 = example "tut17" score9 o17
\end{haskelllisting}
The constructor \function{delay} establishes a \keyword{delay line}. A delay
line is essentially a buffer that contains the signal to be delayed. The first
argument to the \function{delay} constructor is the length of the delay (which
determines the size of the buffer), and the second argument is the signal to
be delayed. So for example, if the delay time is 1.0 seconds, and the sampling
rate is 44,100 Hz (CD quality), then the delay line will be a buffer containing
44,100 samples of the delayed signal. The buffer is rewritten at the audio
rate. Once \code{Delay t sig} writes t seconds of the signal \code{sig} into the
buffer, the buffer can be \keyword{tapped} using the \function{delTap} or the
\function{delTapI} constructors. \code{delTap t dline} will extract the signal from
\code{dline} at time \code{t} seconds. In the exmaple above, we set up a delay
line containing 0.1 seconds of the audio signal, then we tapped it twice -- once
at 0.05 seconds and once at 0.1 seconds. The output signal is a combination of
the original signal (left channel), the signal delayed by 0.05 seconds
(middle), and the signal delayed by 0.1 seconds (right channel).
CSound provides other ways to reverberate a signal besides the delay
line just demonstrated. One such way is achieved via the Reverb constructor
introduced in the \module{CSound.Orchestra} module. This constructor tries to emulate
natural room reverb, and takes as arguments the signal to be reverberated, and
the reverb time in seconds. This is the time it takes the signal to decay to
1/1000 its original amplitude. In this example we output both the original and
the reverberated sound.
\begin{haskelllisting}
> oe19 :: SoundMap.InstrumentSigExp Stereo
> oe19 _noteDur noteVel notePit =
> let ping' = ping noteVel notePit
> rev = reverb 0.3 ping'
> left = (0.65 * ping') + (0.35 * rev)
> right = (0.35 * ping') + (0.65 * rev)
> in Stereo left right
>
> o18 = (hdr, [instrAssoc1p0 oe19])
>
> tut18 = example "tut18" score9 o18
\end{haskelllisting}
The other two reverb functions are \function{comb} and \function{alpass}. Each
of these requires as arguments the signal to be reverberated, the reverb time
as above, and echo loop density in seconds. Here is an example of an instrument
using \function{comb}.
\begin{haskelllisting}
> oe20 :: SoundMap.InstrumentSigExp Mono
> oe20 _noteDur noteVel notePit =
> Mono (comb 0.22 4.0 (ping noteVel notePit))
>
> o19 = (hdr, [instrAssoc1p0 oe20])
>
> tut19 = example "tut19" score9 o19
\end{haskelllisting}
Delay lines can be used for effects other than simple echo and
reverberation. Once the delay line has been established, it can be tapped at
times that vary at control or audio rates. This can be taken advantage of to
produce effects like chorus, flanger, or the Doppler effect. Here is an
example of the flanger effect. This instrument adds a slight flange to
\code{oe11}.
\begin{haskelllisting}
> oe21 :: SigExp -> SigExp -> SigExp -> SigExp -> SoundMap.InstrumentSigExp Stereo
> oe21 modFreqRatio modIndEnd panStart panEnd noteDur noteVel notePit =
> let carFreq = pchToHz notePit
> ampEnv = oscCoolEnv 1.0 (1/noteDur)
> carAmp = dbToAmp noteVel * ampEnv
> modFreq = carFreq * modFreqRatio
> modInd = lineCS CR 0 noteDur modIndEnd
> modAmp = modFreq * modInd
> modSig = oscPure modAmp modFreq
> carrier = oscPure carAmp (carFreq + modSig)
> ftime = oscPure (1/10) 2
> flanger = ampEnv * vdelay 1 (0.5 + ftime) carrier
> signal = carrier + flanger
> pan = lineCS CR panStart noteDur panEnd
> left = pan * signal
> right = (1 pan) * signal
> in Stereo left right
>
> o20 = (hdr, [instrAssoc1p4 oe21])
>
> tut20 = example "tut20" score7 o20
\end{haskelllisting}
The last two examples use generic delay lines.
That is we do not rely on special echo effects but build our own ones
by delaying a signal, filtering it by low pass or high pass filters
and feeding the result back to the delay function.
\begin{haskelllisting}
> lowPass, highPass :: EvalRate -> SigExp -> SigExp -> SigExp
> lowPass rate cutOff sig = sigGen "tone" rate 1 [sig, cutOff]
> highPass rate cutOff sig = sigGen "atone" rate 1 [sig, cutOff]
> oe22 :: SoundMap.InstrumentSigExp Stereo
> oe22 _noteDur noteVel notePit =
> let ping' = ping noteVel notePit
> left = rec (\x -> ping' + lowPass AR 500 (Orchestra.delay 0.311 x))
> right = rec (\x -> ping' + highPass AR 1000 (Orchestra.delay 0.271 x))
> in Stereo left right
>
> o21 = (hdr, [instrAssoc1p0 oe22])
>
> tut21 = example "tut21" score9 o21
> oe23 :: SoundMap.InstrumentSigExp Mono
> oe23 _noteDur noteVel notePit =
> let ping' = ping noteVel notePit
> rev = rec (\x -> ping' +
> 0.7 * (lowPass AR 500 (Orchestra.delay 0.311 x)
> + highPass AR 1000 (Orchestra.delay 0.271 x)))
> in Mono rev
>
> o22 = (hdr, [instrAssoc1p0 oe23])
>
> tut22 = example "tut22" score9 o22
\end{haskelllisting}
This completes our discussion of sound synthesis and Csound. For more
information, please consult the CSound manual or check out
\url{http://mitpress.mit.edu/e-books/csound/frontpage.html}
The function \function{applyOutFunc} applies
sound expression function to the expressions
which represent the parameter fields from 6 on.
These are the fields where the additional instrument parameters
are put by \function{CSound.Score.statementToWords}.
\begin{haskelllisting}
> test :: Output out => (Name, Score.T, TutOrchestra out) -> IO ()
> test = play csoundDir
>
> toOrchestra :: Output out => TutOrchestra out -> Orchestra.T out
> toOrchestra (hd, instrs) =
> Orchestra.Cons hd (SoundMap.instrumentTableToInstrBlocks instrs)
>
> play :: Output out =>
> FilePath -> (Name, Score.T, TutOrchestra out) -> IO ()
> play dir (name, s, o') =
> let scorename = name ++ ".sco"
> orchname = name ++ ".orc"
>
> o = toOrchestra o'
>
> in do writeFile (dir++"/"++scorename) (Score.toString s)
> writeFile (dir++"/"++orchname) (Orchestra.toString o)
>
> system ("cd "++dir++" ; csound32 -d -A -o stdout -s "
> ++ orchname ++ " " ++ scorename
> ++ " | play -t aiff -")
>
>
>
> return ()
\end{haskelllisting}
Here are some bonus instruments for your pleasure and enjoyment.
The first ten instruments are lifted from
\url{http://wings.buffalo.edu/academic/department/AandL/music/pub/accci/01/01_01_1b.txt.html}
The tutorial explains how to add echo/reverb and other effects to the
instruments if you need to. This instrument sounds like an electric piano and
is really simple -- \function{pianoEnv} sets the amplitude envelope, and the sound
waveform is just a series of 10 harmonics. To make the sound brighter,
increase the weight of the upper harmonics.
\begin{haskelllisting}
> piano, reedy, flute
> :: (Name, Score.T, TutOrchestra Mono)
> pianoOrc, reedyOrc, fluteOrc
> :: TutOrchestra Mono
> pianoScore, reedyScore, fluteScore :: TutOrchestra out -> Score.T
> pianoEnv, reedyEnv, fluteEnv,
> pianoWave, reedyWave, fluteWave :: Score.Statement
> pianoEnvTN, reedyEnvTN, fluteEnvTN,
> pianoWaveTN, reedyWaveTN, fluteWaveTN :: Score.Table
> pianoEnvTable, reedyEnvTable, fluteEnvTable,
> pianoWaveTable, reedyWaveTable, fluteWaveTable :: SigExp
> pianoEnvTN = 10; pianoEnvTable = tableNumber pianoEnvTN
> pianoWaveTN = 11; pianoWaveTable = tableNumber pianoWaveTN
>
> pianoEnv = Score.Table pianoEnvTN 0 1024 True (lineSeg1 0 [(20, 0.99),
> (380, 0.4), (400, 0.2), (224, 0)])
> pianoWave = Score.Table pianoWaveTN 0 1024 True (compSine1 [0.158, 0.316,
> 1.0, 1.0, 0.282, 0.112, 0.063, 0.079, 0.126, 0.071])
>
> pianoScore orc = pianoEnv : pianoWave : scored orc attrToInstr1p0 tune1
>
> pianoOE :: SoundMap.InstrumentSigExp Mono
> pianoOE noteDur noteVel notePit =
> let ampEnv = osc CR pianoEnvTable (dbToAmp noteVel) (1/noteDur)
> signal = osc AR pianoWaveTable ampEnv (pchToHz notePit)
> in Mono signal
>
> pianoOrc = (hdr, [instrAssoc1p0 pianoOE])
>
> piano = example "piano" pianoScore pianoOrc
\end{haskelllisting}
Here is another instrument with a reedy sound to it
\begin{haskelllisting}
> reedyEnvTN = 12; reedyEnvTable = tableNumber reedyEnvTN
> reedyWaveTN = 13; reedyWaveTable = tableNumber reedyWaveTN
>
> reedyEnv = Score.Table reedyEnvTN 0 1024 True (lineSeg1 0 [(172, 1.0),
> (170, 0.8), (170, 0.6), (170, 0.7), (170, 0.6), (172,0)])
> reedyWave = Score.Table reedyWaveTN 0 1024 True (compSine1 [0.4, 0.3,
> 0.35, 0.5, 0.1, 0.2, 0.15, 0.0, 0.02, 0.05, 0.03])
>
> reedyScore orc = reedyEnv : reedyWave : scored orc attrToInstr1p0 tune1
>
> reedyOE :: SoundMap.InstrumentSigExp Mono
> reedyOE noteDur noteVel notePit =
> let ampEnv = osc CR reedyEnvTable (dbToAmp noteVel) (1/noteDur)
> signal = osc AR reedyWaveTable ampEnv (pchToHz notePit)
> in Mono signal
>
> reedyOrc = (hdr, [instrAssoc1p0 reedyOE])
>
> reedy = example "reedy" reedyScore reedyOrc
\end{haskelllisting}
We can use a little trick to make it sound like several reeds playing by
adding three signals that are slightly out of tune:
\begin{haskelllisting}
> reedy2OE :: SoundMap.InstrumentSigExp Stereo
> reedy2OE noteDur noteVel notePit =
> let ampEnv = osc CR reedyEnvTable (dbToAmp noteVel) (1/noteDur)
> freq = pchToHz notePit
> reedyOsc = osc AR reedyWaveTable
> a1 = reedyOsc ampEnv freq
> a2 = reedyOsc (ampEnv * 0.44) (freq + (0.023 * freq))
> a3 = reedyOsc (ampEnv * 0.26) (freq + (0.019 * freq))
> left = (a1 * 0.5) + (a2 * 0.35) + (a3 * 0.65)
> right = (a1 * 0.5) + (a2 * 0.65) + (a3 * 0.35)
> in Stereo left right
>
> reedy2Orc :: TutOrchestra Stereo
> reedy2Orc = (hdr, [instrAssoc1p0 reedy2OE])
>
> reedy2 :: (Name, Score.T, TutOrchestra Stereo)
> reedy2 = example "reedy2" reedyScore reedy2Orc
\end{haskelllisting}
This instrument tries to emulate a flute sound by introducing random
variations to the amplitude envelope. The score file passes in two
parameters -- the first one is the depth of the random tremolo in percent of
total amplitude. The tremolo is implemented using the \function{randomI} function,
which generates a signal that interpolates between 2 random numbers over a
certain number of samples that is specified by the second parameter.
\begin{haskelllisting}
> fluteTune :: TutMelody Pair
>
> fluteTune = Music.line
> (map ($ TutAttr 1.6 (30, 40))
> [c 1 hn, e 1 hn, g 1 hn, c 2 hn,
> a 1 hn, c 2 qn, a 1 qn, g 1 dhn]
> ++ [qnr])
>
>
> fluteEnvTN = 14; fluteEnvTable = tableNumber fluteEnvTN
> fluteWaveTN = 15; fluteWaveTable = tableNumber fluteWaveTN
>
> fluteEnv = Score.Table fluteEnvTN 0 1024 True (lineSeg1 0 [(100, 0.8),
> (200, 0.9), (100, 0.7), (300, 0.2), (324, 0.0)])
> fluteWave = Score.Table fluteWaveTN 0 1024 True (compSine1 [1.0, 0.4,
> 0.2, 0.1, 0.1, 0.05])
>
> fluteScore orc = fluteEnv : fluteWave : scored orc attrToInstr1p2 fluteTune
>
> fluteOE :: SigExp -> SigExp -> SoundMap.InstrumentSigExp Mono
> fluteOE depth numSam noteDur noteVel notePit =
> let vol = dbToAmp noteVel
> rand = randomI AR numSam (vol/100 * depth)
> ampEnv = oscI AR fluteEnvTable
> (rand + vol) (1 / noteDur)
> signal = oscI AR fluteWaveTable
> ampEnv (pchToHz notePit)
> in Mono signal
>
> fluteOrc = (hdr, [instrAssoc1p2 fluteOE])
>
> flute = example "flute" fluteScore fluteOrc
\end{haskelllisting}
Dirty hacks are going on here
in order to pass the Phoneme values through all functions.
\begin{haskelllisting}
> voice' :: SigExp -> SigExp -> SigExp -> SigExp ->
> SigExp -> SigExp -> SigExp -> SigExp -> SigExp
> voice' vibWave wave gain vibAmp vibFreq amp freq phoneme =
> sigGen "voice" AR 1
> [amp, freq, phoneme, gain, vibFreq, vibAmp, wave, vibWave]
> data Phoneme =
> Eee | Ihh | Ehh | Aaa |
> Ahh | Aww | Ohh | Uhh |
> Uuu | Ooo | Rrr | Lll |
> Mmm | Nnn | Nng | Ngg |
> Fff | Sss | Thh | Shh |
> Xxx | Hee | Hoo | Hah |
> Bbb | Ddd | Jjj | Ggg |
> Vvv | Zzz | Thz | Zhh
> deriving (Show, Eq, Ord, Enum)
> voiceTune :: TutMelody Pair
> voiceTune = Music.line
> (map (\(n,ph) ->
> n (TutAttr 1 (fromIntegral (fromEnum ph), 2)))
> [(c 1 hn, Aaa), (e 1 hn, Ehh), (g 1 hn, Ohh), (c 2 hn, Ehh),
> (a 1 hn, Eee), (c 2 qn, Aww), (a 1 qn, Aww), (g 1 dhn, Aaa)]
> ++ [qnr])
>
>
> voiceVibWaveTN, voiceWaveTN :: Score.Table
> voiceVibWaveTable, voiceWaveTable :: SigExp
> voiceVibWaveTN = 14; voiceVibWaveTable = tableNumber voiceVibWaveTN
> voiceWaveTN = 15; voiceWaveTable = tableNumber voiceWaveTN
>
> voiceWave, voiceVibWave :: Score.Statement
> voiceWave = Score.Table voiceWaveTN 0 1024 True
> (let width = 50
> in lineSeg1 0 [(width, 1), (width, 0), (10242*width, 0)])
> voiceVibWave = Score.Table voiceVibWaveTN 0 1024 True (compSine1 [1.0, 0.4])
>
> voiceScore :: TutOrchestra out -> Score.T
> voiceScore orc =
> voiceVibWave : voiceWave : scored orc attrToInstr1p2 voiceTune
>
> voiceOE :: SigExp -> SigExp -> SoundMap.InstrumentSigExp Mono
> voiceOE phoneme gain _noteDur noteVel notePit =
> let vol = dbToAmp noteVel
> signal = voice' voiceVibWaveTable voiceWaveTable
> gain (3/100) 5 vol (pchToHz notePit) phoneme
> in Mono signal
>
> voiceOrc :: TutOrchestra Mono
> voiceOrc = (hdr, [instrAssoc1p2 voiceOE])
>
> voice :: (Name, Score.T, TutOrchestra Mono)
> voice = example "voice" voiceScore voiceOrc
\end{haskelllisting}