tidal-0.9.4: Pattern language for improvised music

Sound.Tidal.Params

Synopsis

# Documentation

grp :: [Param] -> Pattern String -> ParamPattern Source #

group multiple params into one

A pattern of strings representing sounds or synth notes.

Internally, sound or its shorter alias s is a combination of the samplebank name and number when used with samples, or synth name and note number when used with a synthesiser. For example bd:2 specifies the third sample (not the second as you might expect, because we start counting at zero) in the bd sample folder.

• Internally, sound/s is a combination of two parameters, the hidden parameter s' which specifies the samplebank or synth, and the n parameter which specifies the sample or note number. For example:
d1 $sound "bd:2 sn:0"  is essentially the same as: d1$ s' "bd sn" # n "2 0"


n is therefore useful when you want to pattern the sample or note number separately from the samplebank or synth. For example:

d1 $n "0 5 ~ 2" # sound "drum"  is equivalent to: d1$ sound "drum:0 drum:5 ~ drum:2"


a pattern of numbers that speed up (or slow down) samples while they play.

a pattern of numbers to specify the attack time (in seconds) of an envelope applied to each sample. Only takes effect if release is also specified.

a pattern of numbers from 0 to 1. Sets the center frequency of the band-pass filter.

a pattern of numbers from 0 to 1. Sets the q-factor of the band-pass filter.

a 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 $sound "breaks125*8" begin "-1" coarse "1 2 4 8 16 32 64 128"  This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to: d1$ (chop 8 $sounds "breaks125") coarse "1 2 4 8 16 32 64 128"  which performs a similar effect, but due to differences in implementation sounds different. a pattern of numbers from 0 to 1. Skips the beginning of each sample, e.g. 0.25 to cut off the first quarter from each sample. Using begin "-1" combined with cut "-1" means that when the sample cuts itself it will begin playback from where the previous one left off, so it will sound like one seamless sample. This allows you to apply a synth param across a long sample in a way similar to chop: cps 0.5 d1$ sound "breaks125*8"  begin "-1"  coarse "1 2 4 8 16 32 64 128"


This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to:

d1 $(chop 8$ sounds "breaks125")  coarse "1 2 4 8 16 32 64 128"


which performs a similar effect, but due to differences in implementation sounds different.

a 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 $sound "breaks125*8" begin "-1" coarse "1 2 4 8 16 32 64 128"  This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to: d1$ (chop 8 $sounds "breaks125") coarse "1 2 4 8 16 32 64 128"  which performs a similar effect, but due to differences in implementation sounds different. a pattern of numbers from 0 to 1. Skips the beginning of each sample, e.g. 0.25 to cut off the first quarter from each sample. Using begin "-1" combined with cut "-1" means that when the sample cuts itself it will begin playback from where the previous one left off, so it will sound like one seamless sample. This allows you to apply a synth param across a long sample in a way similar to chop: cps 0.5 d1$ sound "breaks125*8"  begin "-1"  coarse "1 2 4 8 16 32 64 128"


This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to:

d1 $(chop 8$ sounds "breaks125")  coarse "1 2 4 8 16 32 64 128"


which performs a similar effect, but due to differences in implementation sounds different.

a 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 $sound "breaks125*8" begin "-1" coarse "1 2 4 8 16 32 64 128"  This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to: d1$ (chop 8 $sounds "breaks125") coarse "1 2 4 8 16 32 64 128"  which performs a similar effect, but due to differences in implementation sounds different. a pattern of numbers from 0 to 1. Skips the beginning of each sample, e.g. 0.25 to cut off the first quarter from each sample. Using begin "-1" combined with cut "-1" means that when the sample cuts itself it will begin playback from where the previous one left off, so it will sound like one seamless sample. This allows you to apply a synth param across a long sample in a way similar to chop: cps 0.5 d1$ sound "breaks125*8"  begin "-1"  coarse "1 2 4 8 16 32 64 128"


This will play the breaks125 sample and apply the changing coarse parameter over the sample. Compare to:

d1 $(chop 8$ sounds "breaks125")  coarse "1 2 4 8 16 32 64 128"


which performs a similar effect, but due to differences in implementation sounds different.

bit crushing, a pattern of numbers from 1 (for drastic reduction in bit-depth) to 16 (for barely no reduction).

choose the physical channel the pattern is sent to, this is super dirt specific

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.

In the style of classic drum-machines, cut will stop a playing sample as soon as another samples with in same cutgroup is to be played.

An example would be an open hi-hat followed by a closed one, essentially muting the open.

d1 $stack [ sound "bd", sound "~ [~ [ho:2 hc/2]]" # cut "1" ]  This will mute the open hi-hat every second cycle when the closed one is played. Using cut with negative values will only cut the same sample. This is useful to cut very long samples d1$ sound "bev, [ho:3]" # cut "-1"


Using cut "0" is effectively _no_ cutgroup.

a pattern of numbers from 0 to 1. Applies the cutoff frequency of the low-pass filter.

a pattern of numbers from 0 to 1. Sets the level of the delay signal.

a pattern of numbers from 0 to 1. Sets the amount of delay feedback.

a pattern of numbers from 0 to 1. Sets the length of the delay.

when set to 1 will disable all reverb for this pattern. See room and size for more information about reverb.

a pattern of numbers that specify volume. Values less than 1 make the sound quieter. Values greater than 1 make the sound louder.

a pattern of numbers from 0 to 1. Applies the cutoff frequency of the high-pass filter.

a pattern of numbers to specify the hold time (in seconds) of an envelope applied to each sample. Only takes effect if attack and release are also specified.

a 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 begin to end) the specified number of times.

specifies the sample variation to be used

Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling:

d1 $stack [ sound "bd bd/4", sound "hh(5,8)" ] # nudge "[0 0.04]*4"  • -pitch model Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling: d1$ stack [
sound "bd bd/4",
sound "hh(5,8)"
] # nudge "[0 0.04]*4"

• -pitch model

Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling:

d1 $stack [ sound "bd bd/4", sound "hh(5,8)" ] # nudge "[0 0.04]*4"  • -pitch model Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling: d1$ stack [
sound "bd bd/4",
sound "hh(5,8)"
] # nudge "[0 0.04]*4"

• -pitch model

Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling:

d1 $stack [ sound "bd bd/4", sound "hh(5,8)" ] # nudge "[0 0.04]*4"  • -pitch model Pushes things forward (or backwards within built-in latency) in time. Allows for nice things like _swing_ feeling: d1$ stack [
sound "bd bd/4",
sound "hh(5,8)"
] # nudge "[0 0.04]*4"

• -pitch model

a pattern of numbers. An orbit 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.

a pattern of numbers between 0 and 1, from left to right (assuming stereo), once round a circle (assuming multichannel)

a pattern of numbers between -inf and inf, which controls how much multichannel output is fanned out (negative is backwards ordering)

a pattern of numbers between 0.0 and 1.0, which controls the multichannel spread range (multichannel only)

a pattern of numbers between 0.0 and inf, which controls how much each channel is distributed over neighbours (multichannel only)

a pattern of numbers between -1.0 and 1.0, which controls the relative position of the centre pan in a pair of adjacent speakers (multichannel only)

a pattern of numbers to specify the release time (in seconds) of an envelope applied to each sample. Only takes effect if attack is also specified.

a 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.

wave shaping distortion, a pattern of numbers from 0 for no distortion up to 1 for loads of distortion.

a pattern of numbers from 0 to 1. Sets the perceptual size (reverb time) of the room to be used in reverb.

a pattern of numbers which changes the speed of sample playback, i.e. a cheap way of changing pitch. Negative values will play the sample backwards!

a pattern of strings. Selects the sample to be played.

used in conjunction with speed, accepts values of "r" (rate, default behavior), "c" (cycles), or "s" (seconds). Using unit "c" means speed will be interpreted in units of cycles, e.g. speed "1" means samples will be stretched to fill a cycle. Using unit "s" means the playback speed will be adjusted so that the duration is the number of seconds specified by speed.

formant filter to make things sound like vowels, a pattern of either a, e, i, o or u. Use a rest (~) for no effect.