arp

arp part

Figure 33 summary

• sequencer and synth
• delay fx at 3 x period

same wrapper new synth

This diagram should be looking familiar now. Again, effects delay time is a function of period, 3 times the period, and there is the usual arrangement of sequencer and synth with the mixer channel set up for fader 5.

Figure 33: K1-arp

K1-arp.pd

arp sequence

Figure 34 summary

• float box selector
• copy some notes octave up

random all notes selector

All the 8 chord notes are unpacked and available with equal probability on each step, including extra copies of the upper 3 notes transposed by an octave, thus with 11 in total there is also the possibility of a rest from a random selector of 12.

Figure 34: K2-arp-seq

K2-arp-seq.pd

slide arp

Figure 35 summary

• track at random rate
• envelope only sweeps

sliding sounds

This is portamento, where a note always travels between its last value and the new one, as opposed to glissando where the note rises or falls consistently from some value to the target note. Slide time and decay are related so that quick slides have a short envelope and long slides have a matching long envelope. This sound has an interesting effect when combined with the sustained notes of the pad.

Figure 35: K3-arp-synth

K3-arp-synth.pd

cl delay

Figure 36 summary

• filter in feedback loop
• center then left only

center left delay

Here is the delay at the heart of most our effects so far. In the feedback circuit is a filter to limit recirculating signals to the midrange. [clip] is added defensively to make sure that a feedback greater than 0.9 is never sent by accident. Delays work using pairs of objects in Puredata, one is to send to the buffer and the other to read from it. The second parameter of the [delwrite] object allocates memory, in milliseconds (times the current sample rate). The names of reads and writes must match and should be uniqe to that pair of objects in most uses, although many reads from the same write is okay for multi-tap reverbs. Time may be varied on [delread] via the first inlet with a float message, but this causes unpredictable clicks as you might expect. Signals arriving at the inlet go first to left and right outlets, and then the delayed signal appears on the left channel only. You can create many variations on the basic stereo delay effect each with their own unique uses and applications. A ping pong is a delay that exchanges left and right in the feedback, a lcr distributes delays left, center, right, and so on.

Figure 36: K4-delay

K4-delay.pd

play the arpeggio

Figure 37 summary

bubbling background

A term you might use to describe a random note from the set on almost every beat is "bubbling". This part creates a continuously changing part in a high register that should be mixed in quite quietly to add sparkle to the arrangement.

Figure 37: K5-arp

K5-arp-play.pd K5-arp-play.ogg