gate
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README.md
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README.md
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@ -19,13 +19,15 @@ Defining `Ndef` synths provide a constant signal between cycles and
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instructions. You will need to define a separate `Ndef` for each instance you
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would like to use.
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#### Pitch
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```c
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// define a unique name for each Ndef
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Ndef(\cv_np).source = \nPitch;
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Ndef(\cv_np).play(0);
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// add to dirt library, give it a name that you will use in tidal
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~dirt.soundLibrary.addSynth(\cv, (play: {
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~dirt.soundLibrary.addSynth(\p, (play: {
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var latency = (~latency ? 0);
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var freq = ~freq;
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var channel = ~channel;
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@ -55,6 +57,30 @@ d1 $ n "c3" # s "cv"
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d1 $ n "c3 f2" # s "cv" # channel 1 # portamento 0.5
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```
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#### Gate
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````c
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// define a unique name for each Ndef
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Ndef(\cv_ng).source = \nGate;
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Ndef(\cv_ng).play(0);
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// add to dirt library, give it a name that you will use in tidal
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~dirt.soundLibrary.addSynth(\g, (play: {
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var latency = (~latency ? 0);
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var n = ~n;
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var channel = ~channel;
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var portamento = ~portamento;
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Ndef(\cv_ng).wakeUp;
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// schedule the cycles, prevents delayed signals
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thisThread.clock.sched(latency - 0.025, {
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Ndef(\cv_ng).set(\portamento, portamento);
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Ndef(\cv_ng).set(\channel, channel);
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Ndef(\cv_ng).set(\n, n);
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});
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}));
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---
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### Simple
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@ -63,7 +89,7 @@ The following synths, while easier to use, create a new cv instance each cycle.
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This can result in short gaps/breaks in between cycles. You can use `Ndef`s
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above to remedy this.
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### Pitch, with octave quantisation
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#### Pitch, with octave quantisation
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```haskell
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-- change notes per octave on each cycle
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@ -82,7 +108,7 @@ length).
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d1 $ pitch "0 10 8 1" # scale "<12 31 8>" # x 1 # glide 12 0.5
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```
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### Gate
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#### Gate
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```haskell
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-- sequence gate inputs
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@ -92,7 +118,7 @@ d2 $ gate "0 1 0 0 1 1 1" # x 2
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`gate` will take a 0/1 pattern and return +5v signals for the `1` values. Use
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`-1` if you need a -5v.
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### Voltage automation
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#### Voltage automation
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```haskell
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-- create stepped automation
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@ -101,7 +127,7 @@ d3 $ volt "1 0.2 0.5 -0.2" # x 3
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`volt` will allow you to sequence voltages however you like.
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### ADSR/AR
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#### ADSR/AR
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```haskell
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--- adsr
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@ -123,7 +149,7 @@ d5 $ struct "t f t t" # ar (range 0.1 1 sine) "<0 0.4>" # x 5
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In the above example, the attack time would grow for each triggered envelope
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over course of the cycle.
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### Sine LFO
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#### Sine LFO
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This will create an sine waveform, the sine will restart with each cycle, which
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gives a neat synced/trigger effect for modulations.
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@ -132,7 +158,7 @@ gives a neat synced/trigger effect for modulations.
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d6 $ lfo 0.5 # x 6
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```
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### Saw LFO
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#### Saw LFO
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This will create a sawtooth waveform, the sawtooth will restart with each cycle,
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which gives a neat synced/trigger effect for modulations.
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@ -141,7 +167,7 @@ which gives a neat synced/trigger effect for modulations.
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d6 $ saw 0.5 # x 6
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```
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### Clock
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#### Clock
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```haskell
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-- clock cv output
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@ -151,7 +177,7 @@ d6 $ clock # x 6
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`clock` will output a clock cv, which matches the bpm of your tidal project. You
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can `slow` / `fast` this as well.
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### Amp
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#### Amp
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Using the `amp` modifier in Tidal Cycles will scale the output of `gate`,
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`voltage`, `saw`, `ar`, and `lfo`. Awesome for creating more suble modulations.
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@ -181,3 +207,4 @@ device, please refer to your Audio settings.
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If you are actually using this, please join the community here and let me know:
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https://club.tidalcycles.org/t/using-tidal-to-control-modular-synths-with-cv/863
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````
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11
voltage.scd
11
voltage.scd
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@ -109,4 +109,15 @@
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}).add
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);
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(
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SynthDef(\nGate, {
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| out,
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channel = 0,
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n,
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portamento = 0 |
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var sig = LinLin.ar(n, -1, 9, 0, 1);
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OffsetOut.ar(channel, [sig]);
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}).add
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);
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)
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