;Written by Iain McCurdy, 2006 -+rtaudio=PortAudio -b4096 sr = 44100 ;SAMPLE RATE kr = 4410 ;CONTROL RATE ksmps = 10 ;NUMBER OF AUDIO SAMPLES IN EACH CONTROL CYCLE (MAY NEED TO BE LOW WHEN WORKING WITH SHORT DELAY TIMES DEFINED INITIALLY AT KRATE) nchnls = 2 ;NUMBER OF CHANNELS (2=STEREO) ;FLTK INTERFACE CODE;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ; LABEL | WIDTH | HEIGHT | X | Y FLpanel "Additive Synthesis 1", 500, 400, 0, 0 ; ON | OFF | TYPE | WIDTH | HEIGHT | X | Y | OPCODE | INS | STARTTIM | DUR p4 p5 p6 p7 p8 p9 p10 p11 p12 p13 p14 p15 p16 p17 p18 p19 p20 p21 p22 p23 p24 p25 p26 p27 p28 p29 p30 p31 p32 p33 gkOnOff,ihOnOff FLbutton "On/Off", 1, -1, 2, 150, 30, 0, 0, 0, 1, 0, -1 ;VALUE_DISPLAY_BOXES WIDTH | HEIGHT | X | Y idfund FLvalue " ", 50, 15, 0, 320 idamp FLvalue " ", 50, 15, 0, 370 ;SLIDERS MIN | MAX | EXP | TYPE | DISP | WIDTH | HEIGHT | X | Y gkPartAmp1, ihPartAmp1 FLslider "1", 0, 1, 0, 4, -1, 25, 245, 85, 35 gkPartAmp2, ihPartAmp2 FLslider "2", 0, 1, 0, 4, -1, 25, 245, 110, 35 gkPartAmp3, ihPartAmp3 FLslider "3", 0, 1, 0, 4, -1, 25, 245, 135, 35 gkPartAmp4, ihPartAmp4 FLslider "4", 0, 1, 0, 4, -1, 25, 245, 160, 35 gkPartAmp5, ihPartAmp5 FLslider "5", 0, 1, 0, 4, -1, 25, 245, 185, 35 gkPartAmp6, ihPartAmp6 FLslider "6", 0, 1, 0, 4, -1, 25, 245, 210, 35 gkPartAmp7, ihPartAmp7 FLslider "7", 0, 1, 0, 4, -1, 25, 245, 235, 35 gkPartAmp8, ihPartAmp8 FLslider "8", 0, 1, 0, 4, -1, 25, 245, 260, 35 gkPartAmp9, ihPartAmp9 FLslider "9", 0, 1, 0, 4, -1, 25, 245, 285, 35 gkPartAmp10,ihPartAmp10 FLslider "10", 0, 1, 0, 4, -1, 25, 245, 310, 35 gkfund, ihfund FLslider "Fundemental (Hertz)", 20, 10000,-1, 3, idfund, 500, 20, 0, 300 gkamp, ihamp FLslider "Global Amplitude", 0, 32768, 0, 3, idamp, 500, 20, 0, 350 ;TEXT BOXES TYPE | FONT | SIZE | WIDTH | HEIGHT | X | Y ih FLbox "Partial Strength:", 1, 9, 12, 90, 10, 0, 281 ;SET_INITIAL_VALUES VALUE | HANDLE FLsetVal_i 1-.55, ihPartAmp1 FLsetVal_i 1-.55, ihPartAmp2 FLsetVal_i 1-.9, ihPartAmp3 FLsetVal_i 1-.45, ihPartAmp4 FLsetVal_i 1-.5, ihPartAmp5 FLsetVal_i 1-.5, ihPartAmp6 FLsetVal_i 1-.8, ihPartAmp7 FLsetVal_i 1-.3, ihPartAmp8 FLsetVal_i 1-.3, ihPartAmp9 FLsetVal_i 1-.3, ihPartAmp10 FLsetVal_i 440, ihfund FLsetVal_i 7000, ihamp FLpanel_end ;END OF PANEL CONTENTS ;INSTRUCTIONS AND INFO PANEL FLpanel " ", 500, 460, 512, 0 ;TEXT BOXES TYPE | FONT | SIZE | WIDTH | HEIGHT | X | Y ih FLbox " Additive Synthesis 1 - 10 Harmonics ", 1, 5, 14, 490, 15, 5, 0 ih FLbox "-------------------------------------------------------------", 1, 5, 14, 490, 15, 5, 20 ih FLbox "Additive synthesis is the technique whereby sine waves of ", 1, 5, 14, 490, 15, 5, 40 ih FLbox "different frequencies are mixed and manipulated in such a way", 1, 5, 14, 490, 15, 5, 60 ih FLbox "that they are perceived fused and seem to form a new, more ", 1, 5, 14, 490, 15, 5, 80 ih FLbox "complex tone. The inspiration for additive synthesis comes ", 1, 5, 14, 490, 15, 5, 100 ih FLbox "from Fourier theory that states that any sound can be ", 1, 5, 14, 490, 15, 5, 120 ih FLbox "replicated as a composite of sine waves of various ", 1, 5, 14, 490, 15, 5, 140 ih FLbox "frequencies and phases. ", 1, 5, 14, 490, 15, 5, 160 ih FLbox "In harmonic additive synthesis the sequence of frequencies ", 1, 5, 14, 490, 15, 5, 180 ih FLbox "followed by the different sine wave oscillators follows that ", 1, 5, 14, 490, 15, 5, 200 ih FLbox "of the harmonic series in that each harmonic is a product of ", 1, 5, 14, 490, 15, 5, 220 ih FLbox "the fundemental. For example: if the fundemental of a ", 1, 5, 14, 490, 15, 5, 240 ih FLbox "harmonic tone is 100 Hz. then its 1st harmonic will be at ", 1, 5, 14, 490, 15, 5, 260 ih FLbox "200 Hz. its 2nd at 300 Hz and so on. ", 1, 5, 14, 490, 15, 5, 280 ih FLbox "This example offers the user manipulation of the first 10 ", 1, 5, 14, 490, 15, 5, 300 ih FLbox "harmonics but to synthesize bright timbres rich in higher ", 1, 5, 14, 490, 15, 5, 320 ih FLbox "harmonics such as a violin this number will be insufficient. ", 1, 5, 14, 490, 15, 5, 340 ih FLbox "The next example utilises more partials demonstrates some ", 1, 5, 14, 490, 15, 5, 360 ih FLbox "ways in which the fusion of partials can be enhanced but also", 1, 5, 14, 490, 15, 5, 380 ih FLbox "draws attention to the shortcomings of additive synthesis. ", 1, 5, 14, 490, 15, 5, 400 ih FLbox "Note that the fundemental can also be referred to as the 1st ", 1, 5, 14, 490, 15, 5, 420 ih FLbox "partial, the 1 harmonic as the 2nd partial and so on. ", 1, 5, 14, 490, 15, 5, 440 FLpanel_end FLrun ;RUN THE FLTK WIDGET THREAD ;END OF FLTK INTERFACE CODE;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; instr 1 if gkOnOff!=-1 kgoto CONTINUE ;SENSE IF FLTK SWITCH IS OFF AND IF SO TURN OFF INSTR 1 turnoff ;SENSE IF FLTK SWITCH IS OFF AND IF SO TURN OFF INSTR 1 CONTINUE: ;SENSE IF FLTK SWITCH IS OFF AND IF SO TURN OFF INSTR 1 ;SEPARATE OSCILLATORS CREATE EACH OF THE PARTIALS ;OUTPUT OPCODE AMPLITUDE | FREQUENCY | FUNCTION_TABLE apart1 oscil gkamp*(1-gkPartAmp1), gkfund, 1 ;FUNDEMENTAL apart2 oscil gkamp*(1-gkPartAmp2), gkfund+(gkfund), 1 ;1ST HARMONIC apart3 oscil gkamp*(1-gkPartAmp3), gkfund+(gkfund*2), 1 ;2ND HARMONIC apart4 oscil gkamp*(1-gkPartAmp4), gkfund+(gkfund*3), 1 ;3RD HARMONIC apart5 oscil gkamp*(1-gkPartAmp5), gkfund+(gkfund*4), 1 ;4TH HARMONIC apart6 oscil gkamp*(1-gkPartAmp6), gkfund+(gkfund*5), 1 ;5TH HARMONIC apart7 oscil gkamp*(1-gkPartAmp7), gkfund+(gkfund*6), 1 ;6TH HARMONIC apart8 oscil gkamp*(1-gkPartAmp8), gkfund+(gkfund*7), 1 ;7TH HARMONIC apart9 oscil gkamp*(1-gkPartAmp9), gkfund+(gkfund*8), 1 ;8TH HARMONIC apart10 oscil gkamp*(1-gkPartAmp10), gkfund+(gkfund*9), 1 ;9TH HARMONIC ;SUM THE 10 OSCILLATORS: amix sum apart1,\ apart2,\ apart3,\ apart4,\ apart5,\ apart6,\ apart7,\ apart8,\ apart9,\ apart10 outs amix, amix ;SEND MIXED SIGNAL TO THE OUTPUTS endin f 1 0 4096 10 1 ;A SINE WAVE ;INSTR | START | DURATION f 0 3600 ;DUMMY SCORE EVENT - ALLOWS REALTIME PERFORMANCE FOR UP TO 1 HOUR