Creating reverb efects using granular synthesis
Creating reverb efects using granular synthesis
Creating reverb efects using granular synthesis
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GIDELAYTIME INIT 0.5<br />
GITALETIME INIT 4<br />
; LENGTH OF CHUNK TO BE RECORDED FOR STRETCHING<br />
; PLAYBACK TIME OF THE RECORDED CHUNK<br />
; (0.5 SECONDS STRETCHED TO 4 SECONDS)<br />
INSTR 1<br />
KMETROTIME = 2<br />
KTRIG METRO KMETROTIME<br />
; ------- COUNTING TABLE NUMBERS FOR TIME STRETCH INSTRUMENT -------<br />
GKTABLENR = GKTABLENR + KTRIG<br />
IF GKTABLENR > 8 THEN<br />
GKTABLENR = 1<br />
ENDIF<br />
SCHEDKWHEN KTRIG, 0, 3, 2, 0, GIDELAYTIME + 0.4, GKTABLENR ;REC TRIG<br />
IF GKPLAYTABLENR > 0 THEN<br />
SCHEDKWHEN KTRIG, 0, 8, 3, 0, GITALETIME, GKTABLENR ;STRETCH TRIG<br />
ENDIF<br />
ENDIN<br />
Example1.1 :Time stretch trigger instrument.<br />
II. Using the partikkel opcode<br />
The “Partikkel” opcode is inspired by Curtis Roads book “Microsound” (2001) and is<br />
capable of generating all the varieties of <strong>granular</strong> <strong>synthesis</strong> described in his book. It is<br />
extremely flexible and offers a large set of control parameters.<br />
A design detail that profits the time stretch technique is that all the sound<br />
generating calculations is done, and stored in a list, before the grain is played. With the<br />
exception of FM modulation, none of the parameters of a grain can be changed during the<br />
life cycle of the grain. This is done to optimize the CPU usage. If one changes any of the<br />
parameters during the lifecycle of a grain, the changes apply before the next grain is<br />
played. Due to the obvious need to change the sample position when time stretching this<br />
is an advantage. With some <strong>granular</strong> tools the grain is re-pitch when the sample position<br />
is changed. This will not be a problem <strong>using</strong> the “partikkel” opcode.<br />
The “partikkel” opcode is also a good choice because one can use up to four<br />
sound sources in each instrument instance.<br />
With “partikkel” one has “per grain control” over some of the parameters,<br />
meaning that one can, for example, specify the pitch and the amp of each grain. This way<br />
one can spectrally compose the “<strong>reverb</strong> cloud”. A neat suggestion is to let every other<br />
grain be one octave above the original grains. With “per grain control” one can also<br />
adjust the amplitude level of the grains that are pitched one octave above the original<br />
grains.
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