dB      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~                                                     ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A /Helper functions not directly specific to TidalSafeenumerate a list of thingsenumerate ["foo","bar","baz"]![(1,"foo"), (2,"bar"), (3,"baz")]apply f to the first element of a tuple=apply function to the first value of each tuple in given listapply f! to the second element of a tuple>apply function to the second value of each tuple in given listsplit given list of a by given single a, e.g.wordsBy (== ':') "bd:3" ["bd", "3"]%shorthand for first element of triple&shorthand for second element of triple %shorthand for third element of triple apply f! to the first element of a triple apply f" to the second element of a triple apply f! to the third element of a triple ?apply function to the second value of each triple in given list?apply function to the second value of each triple in given list>apply function to the third value of each triple in given listmap f over a given list of arcsreturn environment variable var 's value or defValue'combines two lists by interleaving themmergelists [1,2,3] [9,8,7] [1,9,2,8,3,7]like B selects n1th element from xs, but wraps over at the end of xs!map ((!!!) [1,3,5]) [0,1,2,3,4,5] [1,3,5,1,3,5]    NoneT! !"#$%&'()*+,-./01234 !"#$%&'()*+,-./012!43 !"#$%&'()*+,-./012 !"#$%&'()*+,-./01234NDefines core data types and functions for handling tidal's concept of time in 6s & 5sSafe5FAn Event is a value that occurs during the period given by the first ArcF. The second one indicates the event's "domain of influence". These will often be the same, but many temporal transformations, such as rotation and scaling time, may result in arcs being split or truncated. In such cases, the first arc is preserved, but the second arc reflects the portion of the event which is relevant.6 (s,e) :: Arc9 represents a time interval with a start and end value.  { t : s <= t && t < e } 7Time is represented by a rational number. Each natural number represents both the start of the next rhythmic cycle, and the end of the previous one. Rational numbers are used so that subdivisions of each cycle can be accurately represented.8xThe starting point of the current cycle. A cycle occurs from each natural number to the next, so this is equivalent to floor.9IThe end point of the current cycle (and starting point of the next cycle):@The position of a time value relative to the start of its cycle.;isIn a t is True if t# is inside the arc represented by a.<Splits the given Arc into a list of Arcs, at cycle boundaries.=Splits the given Arc into a list of ArcDs, at cycle boundaries, but wrapping the arcs within the same cycle.> subArc i j( is the arc that is the intersection of i and j.?3Map the given function over both the start and end Time values of the given Arc.@ Similar to mapArcJ but time is relative to the cycle (i.e. the sam of the start of the arc)A!Returns the `mirror image' of an Arc , used by Sound.Tidal.Pattern.rev.BThe start time of the given EventC The original onset of the given EventD!The original offset of the given EventEThe arc of the given EventFThe midpoint of an ArcGC if an 5's first and second 6's start times matchHC if an 5's first and second 6's end times matchIC if an 5's starts is within given 6JC if an 5's ends is within given 656789:;<=>?@ABCDEFGHIJ56789:;<=>?@ABCDEFGHIJ76589:;<=>?@ABCDEFGHIJ56789:;<=>?@ABCDEFGHIJNone0OK-The pattern datatype, a function from a time Arc to Event values. For discrete patterns, this returns the events which are active during that time. For continuous patterns, events with values for the midpoint of the given Arc is returned.N2converts a ratio into human readable string, e.g. 1/3O5converts a time arc into human readable string, e.g. 13 34P3converts an event into human readable string, e.g. ("bd" 14 23)Ratom is a synonym for pure.Ssilence" returns a pattern with no events.TwithQueryArc f p returns a new Pattern with function f applied to the Arc values passed to the original Pattern p.UwithQueryTime f p returns a new Pattern with function f( applied to the both the start and end Time of the Arc passed to Pattern p.VwithResultArc f p returns a new Pattern with function f applied to the Arc2 values in the events returned from the original Pattern p.WwithResultTime f p returns a new Pattern with function f( applied to the both the start and end Time of the Arc2 values in the events returned from the original Pattern p.Xoverlay combines two Patternls into a new pattern, so that their events are combined over time. This is the same as the infix operator D.Ystack combines a list of PatternCs into a new pattern, so that their events are combined over time.Zappend combines two patterns Patterns into a new pattern, so that the events of the second pattern are appended to those of the first pattern, within a single cycle[append' does the same as appendN, but over two cycles, so that the cycles alternate between the two patterns.\catz returns a new pattern which interlaces the cycles of the given patterns, within a single cycle. It's the equivalent of append, but with a list of patterns.^slowcat does the same as catR, but maintaining the duration of the original patterns. It is the equivalent of append', but with a list of patterns._ listToPatM turns the given list of values to a Pattern, which cycles through the list.`maybeListToPat is similar to  listToPat., but allows values to be optional using the Maybe type, so that Nothing! results in gaps in the pattern.arun n8 returns a pattern representing a cycle of numbers from 0 to n-1.cdensity@ returns the given pattern with density increased by the given Time factor. Therefore  density 2 p3 will return a pattern that is twice as fast, and density (1%3) p& will return one three times as slow.d densityGap is similar to density3 but maintains its cyclic alignment. For example, densityGap 2 p% would squash the events in pattern pK into the first half of each cycle (and the second halves would be empty).eslow does the opposite of density, i.e. slow 2 p/ will return a pattern that is half the speed.fThe <~Y operator shifts (or rotates) a pattern to the left (or counter-clockwise) by the given Time value. For example  (1%16) <~ pR will return a pattern with all the events moved one 16th of a cycle to the left.gThe ~> operator does the same as ~>H but shifts events to the right (or clockwise) rather than to the left.h(The above means that hI is a function from patterns of any type, to a pattern of the same type.)+Make a pattern sound a bit like a breakbeatExample: d1 $ sound (brak "bd sn kurt") iDivides a pattern into a given number of subdivisions, plays the subdivisions in order, but increments the starting subdivision each cycle. The pattern wraps to the first subdivision after the last subdivision is played.Example: "d1 $ iter 4 $ sound "bd hh sn cp" 1This will produce the following over four cycles: 0bd hh sn cp hh sn cp bd sn cp bd hh cp bd hh sn There is also j5, which shifts the pattern in the opposite direction.krev p returns p@ with the event positions in each cycle reversed (or mirrored).l palindrome p applies rev to pS every other cycle, so that the pattern alternates between forwards and backwards.m when test f p applies the function f to p4, but in a way which only affects cycles where the test/ function applied to the cycle number returns True.q"There is a similar function named q which allows you to define when a sound within a list starts and ends. The code below contains three separate patterns in a "stack", but each has different start times (zero cycles, eight cycles, and sixteen cycles, respectively). All patterns stop after 128 cycles: d1 $ seqP [ (0, 128, sound "bd bd*2"), (8, 128, sound "hh*2 [sn cp] cp future*4"), (16, 128, sound (samples "arpy*8" (run 16))) ] r every n f p applies the function f to p, but only affects every n cycles.sfoldEvery ns f p applies the function f to p$, and is applied for each cycle in ns.tsig f< takes a function from time to values, and turns it into a Pattern.usinewave returns a Pattern of continuous DoubleV values following a sinewave with frequency of one cycle, and amplitude from -1 to 1.vsine is a synonym for @sinewave.wsinerat is equivalent to sinewave for Rational values, suitable for use as Time offsets.y sinewave1 is equivalent to sinewave!, but with amplitude from 0 to 1.zsine1 is a synonym for  sinewave1.{sinerat1 is equivalent to sinerat!, but with amplitude from 0 to 1.| sineAmp1 d returns  sinewave1 with its amplitude offset by d.}sawwave is the equivalent of sinewave for sawtooth waves.~saw is a synonym for sawwave.sawrat is the same as sawwave but returns Rational values suitable for use as Time offsets.triwave is the equivalent of sinewave for triangular waves.tri is a synonym for triwave.trirat is the same as triwave but returns Rational values suitable for use as Time offsets.envL is a Pattern of continuous Double values, representing a linear interpolation between 0 and 1 during the first cycle, then staying constant at 1 for all following cycles. Possibly only useful if you're using something like the retrig function defined in tidal.el.o(The above is difficult to describe, if you don't understand Haskell, just read the description and examples..)The W function allows you to take a pattern transformation which takes a parameter, such as eO, and provide several parameters which are switched between. In other words it spreads" a function across several values.,Taking a simple high hat loop as an example: d1 $ sound "ho ho:2 ho:3 hc" <We can slow it down by different amounts, such as by a half: &d1 $ slow 2 $ sound "ho ho:2 ho:3 hc" 3Or by four thirds (i.e. speeding it up by a third; `4%3` means four over three): *d1 $ slow (4%3) $ sound "ho ho:2 ho:3 hc" But if we use @, we can make a pattern which alternates between the two speeds: 3d1 $ spread slow [2,4%3] $ sound "ho ho:2 ho:3 hc" ] takes a list of pattern transforms and applies them one at a time, per cycle, then repeats.Example: d1 $ slowspread ($) [density 2, rev, slow 2, striate 3, (# speed "0.8")] $ sound "[bd*2 [~ bd]] [sn future]*2 cp jvbass*4" VAbove, the pattern will have these transforms applied to it, one at a time, per cycle:5cycle 1: `density 2` - pattern will increase in speed cycle 2: k - pattern will be reversed2cycle 3: `slow 2` - pattern will decrease in speed2cycle 4: `striate 3` - pattern will be granualizedLcycle 5: `(# speed "0.8")` - pattern samples will be played back more slowlySAfter `(# speed "0.8")`, the transforms will repeat and start at `density 2` again.$There's a version of this function, W (pronounced "spread prime"), which takes a *pattern* of parameters, instead of a list: 4d1 $ spread' slow "2 4%3" $ sound "ho ho:2 ho:3 hc" This is quite a messy area of Tidal - due to a slight difference of implementation this sounds completely different! One advantage of using < though is that you can provide polyphonic parameters, e.g.: 9d1 $ spread' slow "[2 4%3, 3]" $ sound "ho ho:2 ho:3 hc" S generates a continuous pattern of (pseudo-)random, floating point numbers between `0` and `1`. d1 $ sound "bd*8" # pan rand pans bass drums randomly $d1 $ sound "sn sn ~ sn" # gain rand *makes the snares' randomly loud and quiet.Numbers coming from this pattern are random, but dependent on time. So if you reset time via `cps (-1)` the random pattern will emit the exact same _random_ numbers again.In cases where you need two different random patterns, you can shift one of them around to change the time from which the _random_ pattern is read, note the difference: :d1 $ jux (|+| gain rand) $ sound "sn sn ~ sn" # gain rand =and with the juxed version shifted backwards for 1024 cycles: Hd1 $ jux (|+| ((1024 <~) $ gain rand)) $ sound "sn sn ~ sn" # gain rand  Just like U but for integers, `irand n` generates a pattern of (pseudo-)random integers between `0` to `n-1`@ inclusive. Notably used to pick a random samples from a folder: (d1 $ sound (samples "drum*4" (irand 5)) -Randomly picks an element from the given list Cd1 $ sound (samples "xx(3,8)" (tom $ choose ["a", "e", "g", "c"])) Splays a melody randomly choosing one of the four notes: `"a"`, `"e"`, `"g"`, `"c"`  Similar to  p allows you to control the percentage of events that are removed. For example, to remove events 90% of the time: qd1 $ slow 2 $ degradeBy 0.9 $ sound "[[[feel:5*8,feel*3] feel:3*8], feel*4]" # accelerate "-6" # speed "2" Use  to apply a given function "sometimes". For example, the following code results in `density 2` being applied about 25% of the time: 1d1 $ sometimesBy 0.25 (density 2) $ sound "bd*8" There are some aliases as well: sometimes = sometimesBy 0.5 often = sometimesBy 0.75 rarely = sometimesBy 0.25 almostNever = sometimesBy 0.1 almostAlways = sometimesBy 0.9 8 randomly removes events from a pattern 50% of the time: kd1 $ slow 2 $ degrade $ sound "[[[feel:5*8,feel*3] feel:3*8], feel*4]" # accelerate "-6" # speed "2" The shorthand syntax for  is a question mark: ?. Using ?F will allow you to randomly remove events from a portion of a pattern: 2d1 $ slow 2 $ sound "bd ~ sn bd ~ bd? [sn bd?] ~" You can also use ?4 to randomly remove events from entire sub-patterns: >d1 $ slow 2 $ sound "[[[feel:5*8,feel*3] feel:3*8]?, feel*4]"  wedge t p p' combines patterns p and p' by squashing the p) into the portion of each cycle given by t, and p'" into the remainer of each cycle.$ has a similar form and behavior to r, but requires an additional number. Applies the function to the pattern, when the remainder of the current loop number divided by the first parameter, is less than the second parameter.OFor example the following makes every other block of four loops twice as dense: 2d1 $ whenmod 8 4 (density 2) (sound "bd sn kurt")  !superimpose f p = stack [p, f p]  plays a modified version of a pattern at the same time as the original pattern, resulting in two patterns being played at the same time. |d1 $ superimpose (density 2) $ sound "bd sn [cp ht] hh" d1 $ superimpose ((# speed "2") . (0.125 <~)) $ sound "bd sn cp hh" splitQueries p wraps p to ensure that it does not get queries that span arcs. For example `arc p (0.5, 1.5)` would be turned into two queries, `(0.5,1)` and `(1,1.5)`, and the results combined. Being able to assume queries don't span cycles often makes transformations easier to specify.Truncates a pattern so that only a fraction of the pattern is played. The following example plays only the first three quarters of the pattern: <d1 $ trunc 0.75 $ sound "bd sn*2 cp hh*4 arpy bd*2 cp bd*2" Plays a portion of a pattern, specified by a beginning and end arc of time. The new resulting pattern is played over the time period of the original pattern: :d1 $ zoom (0.25, 0.75) $ sound "bd*2 hh*3 [sn bd]*2 drum" In the pattern above, G is used with an arc from 25% to 75%. It is equivalent to this pattern: d1 $ sound "hh*3 [sn bd]*2" Use x to apply a function to only a part of a pattern. For example, to apply `density 2` to only the first half of a pattern: Ed1 $ within (0, 0.5) (density 2) $ sound "bd*2 sn lt mt hh hh hh hh" DOr, to apply `(# speed "0.5") to only the last quarter of a pattern: Jd1 $ within (0.75, 1) (# speed "0.5") $ sound "bd*2 sn lt mt hh hh hh hh" -prr rot (blen, vlen) beatPattern valuePattern: pattern rotate/replace.-prr rot (blen, vlen) beatPattern valuePattern: pattern rotate/replace."preplace (blen, plen) beats values combines the timing of beats with the values of values<. Other ways of saying this are: * sequential convolution * values quantized to beats. Examples: v d1 $ sound $ preplace (1,1) "x [~ x] x x" "bd sn" d1 $ sound $ preplace (1,1) "x(3,8)" "bd sn" d1 $ sound $ "x(3,8)"  ~C "bd sn" d1 $ sound "[jvbass jvbass:5]*3" |+| (shape $ "1 1 1 1 1"  ~ "0.2 0.9") It is assumed the pattern fits into a single cycle. This works well with pattern literals, but not always with patterns defined elsewhere. In those cases use prr@ and provide desired pattern lengths: @ let p = slow 2 $ "x x x"$d1 $ sound $ prr 0 (2,1) p "bd sn" @protate len rot p rotates pattern p by rot beats to the left. len.: length of the pattern, in cycles. Example: <d1 $ every 4 (protate 2 (-1)) $ slow 2 $ sound "bd hh hh hh"The <<~9 operator rotates a unit pattern to the left, similar to <~T, but by events rather than linear time. The timing of the pattern remains constant: Id1 $ (1 <<~) $ sound "bd ~ sn hh" -- will become d1 $ sound "sn ~ hh bd" pequal cycles p1 p2: quickly test if p1 and p2 are the same.discretise n p: samples the pattern p at a rate of nQ events per cycle. Useful for turning a continuous pattern into a discrete one. randcat ps : does a slowcat on the list of patterns ps4 but randomises the order in which they are played. fromNote pU: converts a pattern of human-readable pitch names into pitch numbers. For example, "cs2"A will be parsed as C Sharp in the 2nd octave with the result of 11, and "b-3" as -25!. Pitches can be decorated using:s = Sharp, a half-step above ("gs-1")f = Flat, a half-step below ("gf-1")n = Natural, no decoration ("g-1" and "gn-1" are equivalent)'ss = Double sharp, a whole step above ("gss-1")&ff = Double flat, a whole step below ("gff-1")Note that TidalCycles now assumes that middle C is represented by the value 0, rather than the previous value of 60. This function is similar to previously available functions tom and toMIDI1, but the default octave is now 0 rather than 5.tom p : Alias for toMIDI. tom = toMIDIThe  function takes a pattern of integer numbers, which are used to select values from the given list. What makes this a bit strange is that only a given number of values are selected each cycle. For example: Id1 $ sound (fit 3 ["bd", "sn", "arpy", "arpy:1", "casio"] "0 [~ 1] 2 1") The above fits three samples into the pattern, i.e. for the first cycle this will be `"bd"`, `"sn"` and `"arpy"`, giving the result `"bd [~ sn] arpy sn"` (note that we start counting at zero, so that `0` picks the first value). The following cycle the *next* three values in the list will be picked, i.e. `"arpy:1"`, `"casio"` and `"bd"`, giving the pattern `"arpy:1 [~ casio] bd casio"` (note that the list wraps round here). struct a b: structures pattern b in terms of a. returns the nth iteration of a  &https://en.wikipedia.org/wiki/L-systemLindenmayer System with given start sequence. for example: ~~~~{haskell}&lindenmayer 1 "a:b,b:ab" "ab" -> "bab"~~~~Mremoves events from pattern b that don't start during an event from pattern a is a generalization of , where the list is instead constructed by using another integer pattern to slice up a given pattern. The first argument is the number of cycles of that latter pattern to use when slicing. It's easier to understand this with a few examples: *d1 $ sound (fit' 1 2 "0 1" "1 0" "bd sn") !So what does this do? The first `1`< just tells it to slice up a single cycle of `"bd sn"`. The `2`K tells it to select two values each cycle, just like the first argument to #. The next pattern `"0 1"` is the "from" pattern which tells it how to slice, which in this case means `"0"` maps to `"bd"`, and `"1"` maps to `"sn"`. The next pattern `"1 0"` is the "to" pattern, which tells it how to rearrange those slices. So the final result is the pattern `"sn bd"`.-A more useful example might be something like `d1 $ fit' 1 4 (run 4) "[0 3*2 2 1 0 3*2 2 [1*8 ~]]/2" $ chop 4 $ (sound "breaks152" # unit "c")  which uses chop8 to break a single sample into individual pieces, which p then puts into a list (using the `run 4` pattern) and reassembles according to the complicated integer pattern.mempty is a synonym for silence. | mappend is a synonym for overlay.pure a, returns a pattern with an event with value a>, which has a duration of one cycle, and repeats every cycle.show (p :: Pattern)i returns a text string representing the event values active during the first cycle of the given pattern.KLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~KLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ۖKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~KLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~None9;5     -     5     2     None09;OT? !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRST< !"#$%'&()*+,-/.0123456789:;<=>?@ABCDEFGHIJKLMNOPQA0,-./$%&'()(*(+TSR !"#123456789:;<=>?@ABCDEFGHIJKLMNOPQ+ !"#$ %&'()(*(+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTH1M1N1O1P1None#Ygroup multiple params into oneZ@a pattern of strings representing sound sample names (required).Z is a combination of the  and M parameters to allow specifying both sample name and sample variation in one: d1 $ sound "bd:2 sn:0" is essentially the same as: d1 $ s "bd sn" # n "2 0" ^Ja pattern of numbers that speed up (or slow down) samples while they play._ya pattern of numbers to specify the attack time (in seconds) of an envelope applied to each sample. Only takes effect if  is also specified.`Ta pattern of numbers from 0 to 1. Sets the center frequency of the band-pass filter.aLa pattern of numbers from 0 to 1. Sets the q-factor of the band-pass filter.bKa pattern of numbers from 0 to 1. Skips the beginning of each sample, e.g. `0.25`/ to cut off the first quarter from each sample. Using `begin "-1"` combined with `cut "-1"` means that when the sample cuts itself it will begin playback from where the previous one left off, so it will sound like one seamless sample. This allows you to apply a synth param across a long sample in a way similar to chop: "cps 0.5 d1 $ sound "breaks125*8"  unit "c"  begin "-1"  cut "-1"  coarse "1 2 4 8 16 32 64 128" This will play the  breaks125 sample and apply the changing e' parameter over the sample. Compare to: #d1 $ (chop 8 $ sounds "breaks125")  unit "c"  coarse "1 2 4 8 16 32 64 128" [which performs a similar effect, but due to differences in implementation sounds different.cOchoose the physical channel the pattern is sent to, this is super dirt specifice|fake-resampling, a pattern of numbers for lowering the sample rate, i.e. 1 for original 2 for half, 3 for a third and so on.fobit crushing, a pattern of numbers from 1 (for drastic reduction in bit-depth) to 16 (for barely no reduction).g'In the style of classic drum-machines, g] will stop a playing sample as soon as another samples with in same cutgroup is to be played.YAn example would be an open hi-hat followed by a closed one, essentially muting the open. Ed1 $ stack [ sound "bd", sound "~ [~ [ho:2 hc/2]]" # cut "1" ] PThis will mute the open hi-hat every second cycle when the closed one is played.Using g\ with negative values will only cut the same sample. This is useful to cut very long samples  d1 $ sound " 3,8 bev, [ho:3]" # cut "-1" -Using `cut "0"` is effectively _no_ cutgroup.hVa pattern of numbers from 0 to 1. Applies the cutoff frequency of the low-pass filter.kEa pattern of numbers from 0 to 1. Sets the level of the delay signal.lDa pattern of numbers from 0 to 1. Sets the amount of delay feedback.m?a pattern of numbers from 0 to 1. Sets the length of the delay.o when set to `1`/ will disable all reverb for this pattern. See  and # for more information about reverb.qa pattern of numbers that specify volume. Values less than 1 make the sound quieter. Values greater than 1 make the sound louder.tWa pattern of numbers from 0 to 1. Applies the cutoff frequency of the high-pass filter.uwa pattern of numbers to specify the hold time (in seconds) of an envelope applied to each sample. Only takes effect if _ and  are also specified.vPa pattern of numbers from 0 to 1. Applies the resonance of the high-pass filter.A pattern of numbers. Specifies whether delaytime is calculated relative to cps. When set to 1, delaytime is a direct multiple of a cycle.loops the sample (from b to p ) the specified number of times.)specifies the sample variation to be usedrPushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling: Kd1 $ stack [ sound "bd bd/4", sound "hh(5,8)" ] # nudge "[0 0.04]*4" \Low values will give a more _human_ feeling, high values might result in quite the contrary.a pattern of numbers. An  is a global parameter context for patterns. Patterns with the same orbit will share hardware output bus offset and global effects, e.g. reverb and delay. The maximum number of orbits is specified in the superdirt startup, numbers higher than maximum will wrap around.Ka pattern of numbers between 0 and 1, from left to right (assuming stereo).za pattern of numbers to specify the release time (in seconds) of an envelope applied to each sample. Only takes effect if _ is also specified.Qa pattern of numbers from 0 to 1. Specifies the resonance of the low-pass filter.;a pattern of numbers from 0 to 1. Sets the level of reverb.gwave shaping distortion, a pattern of numbers from 0 for no distortion up to 1 for loads of distortion.Pa pattern of numbers from 0 to 1. Sets the perceptual size (reverb time) of the  to be used in reverb.pa pattern of numbers from 0 to 1, which changes the speed of sample playback, i.e. a cheap way of changing pitch6a pattern of strings. Selects the sample to be played.6only accepts a value of "c". Used in conjunction with /, it time-stretches a sample to fit in a cycle.Eformant filter to make things sound like vowels, a pattern of either a, , i, o or u. Use a rest (`~`) for no effect.XYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~XYZ[\]^E_F`GaHbIcJdKeLfMgNhOiPjQkRlSmTnUoVpWqXrYsZt[u\v]w^x_y`za{b|c}d~efghijklmnopqrstuvwxyz{|}~ۄXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~XYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~None None8Pans the last n versions of the pattern across the field.Just stop for a bit before playing new patternZJumps directly into the given pattern, this is essentially the _no transition_-transition. Variants of ' provide more useful capabilities, see  and Sharp = transition after the specified number of cycles have passed. "t1 (jumpIn 2) $ sound "kick(3,8)" Unlike  the variant R will only transition at cycle boundary (e.g. when the cycle count is an integer).Sharp 9 transition at next cycle boundary where cycle mod n == 0:Degrade the new pattern over time until it goes to nothing     None None  -Striate is a kind of granulator, for example: )d1 $ striate 3 $ sound "ho ho:2 ho:3 hc" lThis plays the loop the given number of times, but triggering progressive portions of each sample. So in this case it plays the loop three times, the first time playing the first third of each sample, then the second time playing the second third of each sample, etc.. With the highhat samples in the above example it sounds a bit like reverb, but it isn't really.You can also use striate with very long samples, to cut it into short chunks and pattern those chunks. This is where things get towards granular synthesis. The following cuts a sample into 128 parts, plays it over 8 cycles and manipulates those parts by reversing and rotating the loops. )d1 $ slow 8 $ striate 128 $ sound "bev"  The   function is a variant of  G with an extra parameter, which specifies the length of each part. The   function still scans across the sample over a single cycle, but if each bit is longer, it creates a sort of stuttering effect. For example the following will cut the bev sample into 32 parts, but each will be 1/16th of a sample long: 0d1 $ slow 32 $ striate' 32 (1/16) $ sound "bev"  Note that   uses the b and p8 parameters internally. This means that if you're using   (or  &) you probably shouldn't also specify b or p.  &_not sure what this does_, variant of    Just like  w, but also loops each sample chunk a number of times specified in the second argument. The primed version is just like  :, where the loop count is the third argument. For example: -d1 $ striateL' 3 0.125 4 $ sound "feel sn:2" Like  , these use the b and p' parameters internally, as well as the  parameter for these versions.Icrossfades between old and new pattern over given number of cycles, e.g.: 7d1 $ sound "bd sn" t1 (xfadeIn 16) $ sound "jvbass*3" 3Will fade over 16 cycles from "bd sn" to "jvbass*3"?Crossfade between old and new pattern over the next two cycles. -d1 $ sound "bd sn" t1 xfade $ sound "can*3"  is built with - in this case taking two cycles for the fade.Stut applies a type of delay to a pattern. It has three parameters, which could be called depth, feedback and time. Depth is an integer and the others floating point. This adds a bit of echo: $d1 $ stut 4 0.5 0.2 $ sound "bd sn" The above results in 4 echos, each one 50% quieter than the last, with 1/5th of a cycle between them. It is possible to reverse the echo: 'd1 $ stut 4 0.5 (-0.2) $ sound "bd sn" &_not sure what this does_, variant of same as ^ though it allows you to specify the number of cycles until dropping to the new pattern, e.g.: Dd1 $ sound "jvbass(3,8)" t1 (anticipateIn 4) $ sound "jvbass(5,8)"  is an increasing comb filter.QBuild up some tension, culminating in a _drop_ to the new pattern after 8 cycles.                     NoneThe  function creates strange stereo effects, by applying a function to a pattern, but only in the right-hand channel. For example, the following reverses the pattern on the righthand side: <d1 $ slow 32 $ jux (rev) $ striate' 32 (1/16) $ sound "bev" 2When passing pattern transforms to functions like  #juxjux and  #everyevery;, it's possible to chain multiple transforms together with g, for example this both reverses and halves the playback speed of the pattern in the righthand channel: Nd1 $ slow 32 $ jux ((# speed "0.5") . rev) $ striate' 32 (1/16) $ sound "bev"  In addition to ,   allows using a list of pattern transform. resulting patterns from each transformation will be spread via pan from left to right. For example: Ad1 $ jux' [iter 4, chop 16, id, rev, palindrome] $ sound "bd sn" 5will put `iter 4` of the pattern to the far left and l to the far right. In the center the original pattern will play and mid left mid right the chopped and the reversed version will appear.One could also write: d1 $ stack [ iter 4 $ sound "bd sn" # pan "0", chop 16 $ sound "bd sn" # pan "0.25", sound "bd sn" # pan "0.5", rev $ sound "bd sn" # pan "0.75", palindrome $ sound "bd sn" # pan "1", ] !Multichannel variant of , _not sure what it does_"With , the original and effected versions of the pattern are panned hard left and right (i.e., panned at 0 and 1). This can be a bit much, especially when listening on headphones. The variant "Y has an additional parameter, which brings the channel closer to the centre. For example: -d1 $ juxBy 0.5 (density 2) $ sound "bd sn:1" dIn the above, the two versions of the pattern would be panned at 0.25 and 0.75, rather than 0 and 1.#Smash is a combination of  and   - it cuts the samples into the given number of bits, and then cuts between playing the loop at different speeds according to the values in the list.So this: /d1 $ smash 3 [2,3,4] $ sound "ho ho:2 ho:3 hc" Is a bit like this: Ad1 $ spread (slow) [2,3,4] $ striate 3 $ sound "ho ho:2 ho:3 hc" This is quite dancehall: sd1 $ (spread' slow "1%4 2 1 3" $ spread (striate) [2,3,4,1] $ sound "sn:2 sid:3 cp sid:4") # speed "[1 2 1 1]/2" $an altenative form to # is $ which will use / instead of  .((x will "spin" a layer up a pattern the given number of times, with each successive layer offset in time by an additional `1/n`) of a cycle, and panned by an additional `1/n`f. The result is a pattern that seems to spin around. This function works best on multichannel systems. Ld1 $ slow 3 $ spin 4 $ sound "drum*3 tabla:4 [arpy:2 ~ arpy] [can:2 can:3]" ..2 will take a pattern which goes from 0 to 1 (like z), and scale it to a different range - between the first and second arguments. In the below example, `scale 1 1.5` shifts the range of z from 0 - 1 to 1 - 1.5. Sd1 $ jux (iter 4) $ sound "arpy arpy:2*2" |+| speed (slow 4 $ scale 1 1.5 sine1) // granualizes every sample in place as it is played, turning a pattern of samples into a pattern of sample parts. Use an integer value to specify how many granules each sample is chopped into: .d1 $ chop 16 $ sound "arpy arp feel*4 arpy*4" Different values of /A can yield very different results, depending on the samples used: d1 $ chop 16 $ sound (samples "arpy*8" (run 16)) d1 $ chop 32 $ sound (samples "arpy*8" (run 16)) d1 $ chop 256 $ sound "bd*4 [sn cp] [hh future]*2 [cp feel]" 00 is similar to / in that it granualizes every sample in place as it is played, but every other grain is silent. Use an integer value to specify how many granules each sample is chopped into: Bd1 $ gap 8 $ sound "jvbass" d1 $ gap 16 $ sound "[jvbass drum:4]" 33M applies a function smoothly over an array of different patterns. It uses an  OscPatternV to apply the function at different levels to each pattern, creating a weaving effect. [d1 $ weave 3 (shape $ sine1) [sound "bd [sn drum:2*2] bd*2 [sn drum:1]", sound "arpy*8 ~"] 44] is similar in that it blends functions at the same time at different amounts over a pattern: `d1 $ weave' 3 (sound "bd [sn drum:2*2] bd*2 [sn drum:1]") [density 2, (# speed "0.5"), chop 16] 5(A function that takes two OscPatterns, and blends them together into a new OscPattern. An OscPattern is basically a pattern of messages to a synthesiser.)8Shifts between the two given patterns, using distortion.Example: Fd1 $ interlace (sound "bd sn kurt") (every 3 rev $ sound "bd sn:2") 6Step sequencing8like 6C, but allows you to specify an array of strings to use for 0,1,2...;;/ does a poor man's pitchshift by semitones via .=You can easily produce melodies from a single sample with up: d1  up "0 5 4 12"  sound "arpy" ~This will play the _arpy_ sample four times a cycle in the original pitch, pitched by 5 semitones, by 4 and then by an octave.AAT makes a sample fit the given number of cycles. Internally, it works by setting the F parameter to "c", changing the playback speed of the sample with the $ parameter, and setting setting the c of the pattern to match. {d1 $ loopAt 4 $ sound "breaks125" d1 $ juxBy 0.6 (|*| speed "2") $ slowspread (loopAt) [4,6,2,3] $ chop 12 $ sound "fm:14" ) !"#$%&'()*+,-./0123456789:;<=>?@A) !"#$%&'()*+,-./0123456789:;<=>?@A) !"#$%&'()*+,-./0123456789:;<=>?@A) !"#$%&'()*+,-./0123456789:;<=>?@A NonePD      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdBefghijklmnopqrstuvwxyz{|}~ !"#$%&'()*+,-./01256789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%'&()*+,-/.0123456789:;<=>?@ABCDEFGHIJKLMNOPQXYZ[\]^E_F`GaHbIcJdKeLfMgNhOiPjQkRlSmTnUoVpWqXrYsZt[u\v]w^x_y`za{b|c}d~efghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@A !"##$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*++,-./01234567789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~                                             ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I JKLMNOPKQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~KKKLKLKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK K K K K KKKKKKKKKKKKKKKKKKK K!K"KQ#KQ#KQ$KQ%KQ%KQ&KQ'KQ'KQ(KQ)KQ)KQ*KQ+KQ+KQ,KQ-KQ-KQ.KQ/KQ/KQ0KQ1KQ1KQ2KQ3KQ3KQ4K56K57K58K59K5:K5;K5<K5=K5>K5?K5@K5AK5BK5CK5DK5EK5FK5GK5HK5IK5JK5KK5LK5MK5NK5OK5PK5QK5RK5SK5TK5UK5VK5WK5XK5YK5ZK5[K5\K5]K5^K5_K5`K5aK5bK5cK5dK5eK5fK5gK5hK5iK5jK5kK5lK5mK5nKopKqKrKsKLtKLuKLvKLwKLxKLyKLzKL{KL|KL}KL~KLKLKLKLKLKLKLKLKLKLKLKLKLKLKLKLKLKLKKKKKKKKKKKKKK tidal-0.8-3VFvwOOHHJM6l2jTIuJgXOSound.Tidal.UtilsSound.Tidal.TempoSound.Tidal.TimeSound.Tidal.PatternSound.Tidal.ParseSound.Tidal.StreamSound.Tidal.ParamsSound.Tidal.OscStreamSound.Tidal.TransitionSound.Tidal.SuperColliderSound.Tidal.DirtSound.Tidal.StrategiesSound.Tidal.Context enumeratemapFstmapFstsmapSndmapSndswordsBy maybeReadfst'snd'thd'mapFst'mapSnd'mapThd'mapFsts'mapSnds'mapThds'mapArcs getEnvDefault mergelists!!! 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Data.Foldablefoldrlengthnullfoldlfoldl'foldl1sumproductfoldr1maximumminimumelemMonoidmemptymappendmconcatGHC.RealRatioRational Alternativemanyempty<|>some Data.RatioapproxRationalControl.ConcurrentthreadWaitWriteSTMthreadWaitReadSTMthreadWaitWritethreadWaitReadrunInUnboundThreadrunInBoundThreadisCurrentThreadBoundforkOSWithUnmaskforkOS forkFinallyrtsSupportsBoundThreadsControl.Concurrent.QSemN signalQSemN waitQSemNnewQSemNQSemNControl.Concurrent.QSem signalQSemwaitQSemnewQSemQSemControl.Concurrent.ChanwriteList2ChangetChanContents isEmptyChan unGetChandupChanreadChan writeChannewChanChan Data.ListisSubsequenceOfData.Traversable mapAccumR mapAccumLControl.Applicativeoptional WrappedMonad WrapMonad unwrapMonad WrappedArrow WrapArrow unwrapArrowZipList getZipList GHC.Conc.IO threadDelayControl.Concurrent.MVar mkWeakMVaraddMVarFinalizermodifyMVarMaskedmodifyMVarMasked_ modifyMVar modifyMVar_withMVarMaskedwithMVarswapMVar GHC.Conc.SyncmkWeakThreadIdthreadCapabilityyield myThreadIdthrowTo 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