This patch is yet another patch written specifically for a Sporth Editor for the iPad, powered by AudioKit. This was a test patch designed to test out the keyboard interface. Like previous sporth patches for the sporth editor, p-registers 0-3 map to user-controllable sliders. In addition to these, p-register 4 and 5 are also used for the keyboard control. p4 is a gate signal, and p5 is a pitch value (in the range 0-24).
_seq "0 5 7 12 2 12 7 5" gen_vals _filt "1000 2000 7000 3000 1000 1000 7000 1000" gen_vals
This patch contains 4 parametric controls. Control 1: Tempo This is the speed of the sequencer(s)
_bpm var 0 p 80 150 scale _bpm set
Control 2: Length The length controls the pattern length of the sequence.
_seqlen var 1 p 8 * floor _seqlen set
Control 3: Resonance This controls how much resonance is applied to the filter.
_res var 2 p 0 0.99 scale _res set
Control 4: Detune This controls how much detune there is amongst the oscillators.
_det var 3 p 0.01 0.45 scale _det set
A few named variables are created to carry signals used through the patch.
_phsr var _key var _dry var _note var _gt 4 palias
- "phsr" will hold the phasor signal, which are used in the sequencers.
- "key" will hold the midi note number value
- "dry" will hold the dry signal so it can be processed by effects
- "gt", is the gate signal generated from p4. Since words are easier to remember than numbers, "palias" is used to alias p4 to the variable "gt"
This chunk of code is in charge of producing the arpeggiation sequence.
The first thing is to get the base note from the keyboard UI. tport is used instead of port so that the initial note-on event does not gliss from the previous note. The keyboard is biased around middle C (60), and then assigned to the variable key.
5 p (4 p 0.5 0 thresh) 0.05 tport 60 + _key set
The line below is a bit of logic required to work with the keyboard UI. This is also tricky to read, so I added parentheses for clarity. Because of the way the keyboard signal works, the signal needs to only change notes when a keyboard note is greater than 0. To do this, a samphold is used. tick is also used to ensure that a note is assigned at the start of the patch.
Bear in mind that the samphold value remains on the stack to be processed later.
_key get (tick _key get 0 gt +) samphold
The next step is to generate a phasor signal. A phasor will generated a saw wave from 0 to 1, which can then be scaled and fed into table lookup unit generators. The phasor generator that will be used for the arpeggiator will have ability to reset itself to 0 at the start of the note. This signal expects a trigger, but the keyboard produces a gate. Thus, thresh is used:
_gt get 0.5 0 thresh
From there, the frequency of the phasor is calculated. The BPM is converted to frequency using bpm2rate. The rate of the sequencer is normalized by the sequencer length so that the notes are the same duration. The phase parameter for tphasor is set to 0. This entire signal is then fed into the variable phsr.
_bpm get bpm2rate 4 _seqlen get / * 0 tphasor _phsr set
The phasor signal is immediately retrieved, scaled, and floored by the sequencer length. This value becomes the index parameter for the table seq. Remember that the signal generated from samphold is still on the stack. The value produced from tget is added on to this signal, and then assigned to the variable note.
_phsr get _seqlen get * floor _seq tget + _note set
Once the arpeggiation has been computed, it can be fed into the sound source: three detuned bandlimited sawtooth oscillators. The first oscillator has no detune parameter.
_note get 0.001 port mtof 0.3 saw
The second oscillator is detuned sharp. To add variety, the detuned parameter is scaled by 12.3 percent.
_note get _det get 1.123 * + 0.001 port mtof 0.3 saw +
The final oscillator is detuned flat.
_note get _det get - 0.001 port mtof 0.3 saw +
In addition to sequencing the notes, there is also a sequence of filter resonances that move in time. This one has some subtle sound engineering (it tooke me a while to figure out what I was trying to do!)
Similar to the note sequencer, the phasor signal is scaled and floored, this time being fed into the filter table sequencer.
_phsr get _seqlen get * floor _filt tget
To add some nuance, an adsr envelope is applied to the filter frequency control signal. The signal is duplicated and fed into the crossfade unit generator cf, with a mix of 0.7.
dup _gt get 1.3 0.2 0.9 0.4 adsr * 0.7 cf
To prevent clicks, some small portamento is added to the filter frequency sequencer.
Finally, the resonance is retrieved from the variable res, and the sawtooth signal is fed into the moog filter ugen moogladder.
_res get moogladder
To add some meat, a sub oscillator is created. The sub oscillator is just a sine wave generator, tuned an octave below the other oscillators, then added to the rest of the signal.
_note get 12 - 0.001 port mtof 0.1 sine +
This whole signal is multiplied by an ADSR envelope, fed by the gate signal.
_gt get 0.001 0.1 0.9 0.3 adsr *
To add more brightness, the signal is duplicated. One of the signals is sent through a highpass filter and boosted. Then, they are added together.
dup 7000 buthp 3 ampdb * +
With the signal complete, it is assigned to the variable dry.
The effects processing is pretty standard reverb and delay setup setup.
The dry signal is first procesed by my favorite reverb unit ReverbSC.
_dry get dup 0.85 8000 revsc drop -12 ampdb * _dry get +
The dry signal is also processed in parallel with a filtered delay line. While most filtered delay lines use lowpass filters, this filter is a highpass filter with a very high cutoff frequency. The resulting sound is a "shimmer" in a frequency space that does not compete with any other instruments.
_dry get 0.75 0.3 delay 6000 buthp -20 ampdb * +