SynthDef(”softfrog_”++x, { Identify your strengths with a free online coding quiz, and skip resume and recruiter screens at multiple companies at once. var frequencies, amplitudes, envelope, final; You also need to have JavaScript enabled in your browser.AudioPlayer.embed("audioplayer_2", {soundFile:"http%3A%2F%2Fsupercollider.sourceforge.net%2Fwpaudio%2Fbbcuthelpfile_cutattack.mp3"}); Some automatic generative beat-slicing, made by running the “cutattack” helpfile from Nick Collins’ BBCut2 library. \midinote, Pseq(~bass_notes, inf) ~sounds = Group.new(); ~reverb = Synth(\reverb, [\inbus, ~reverb_bus, \outbus, ~limiter_bus, \mix, 0.5, \amount, 0.7], ~sounds); Pbrown(23, 26, 3, 32)], inf), Having to free everything manually gets annoying and tiring pretty quickly. \tone1, 14, Some of these are more musical than others, and they're all organized by how I feel about them. Instead, why not write a SynthDef with a 5 second lone envelope on it: This workshop requires no prior experience with either Supercollider or music production. The only slight difference is the literal array as a default value. ~reverb.free; //free reverb synth. (This is simple wrapper around writeSuperCollider that may not work well on all platforms.) amplitudes = Array.fill(5, {| i | amp * (1/i)}); Posted by November 30, 2020 November 30, 2020. Peter Kirn - March 17, 2020. You also need to have JavaScript enabled in your browser.AudioPlayer.embed("audioplayer_6", {soundFile:"http%3A%2F%2Fsupercollider.sourceforge.net%2Fwpaudio%2Fhamburg_soft_frogs-20070305-2145.mp3"}); A brief snippet of this generative piece: // hamburg soft frog loops, by Julian Rohrhuber July 2005 final = Mix.new(SinOsc.ar(frequencies, amplitudes)) * envelope; //use Mix.ar to prevent clipping Here’s a little code in SuperCollider to generate a kind of feedbacky ambient atmosphere. e= EnvGen.kr(Env.asr(0.01, amp, 0.05), gate, doneAction:2); Please read the SuperCollider documentation if you’d like to know more. What is essential to know about this relationship for this walkthrough is that we will be spawning instances of a synth on the Server and route its audio through effects that are located on the server. [\kr, \ar].do { |x| ~bass_durs = [4, 4, 4, 4]; ~sounds.free; MouseY.kr(300, 10000, 1)), 0.5) }; \dur, Pseq(~bass_durs, inf), ~bass = Pbind( final = Mix.new(SinOsc.ar(frequencies, amplitudes)) * envelope; //use Mix.ar to prevent clipping sustain=0.3, amp=0.1; x.set(\freq, 550); //client sends a message to the server, telling it to change the frequency of x node2.play; fork { ), // And a pattern to play it: In previous examples case, bus numbers 0 and 1 are our hardware outputs–left and right. Out.ar(outbus, final); //outputs to given channel or bus If you feel you need a refresher, consider checking out this small tutorial. Line.kr(pwidth, 0, sustain) Essentially, setting the \quant argument in the .play function quantizes the output, making sure that it occurs on the next division of the beat you specify (which ensures it happens at a correct time relative to other events): Pbind().play(t, \quant, 3); //schedules on next division of 3 beats, Pbind().play(t, quant: 3); //syntactic sugar. Out.ar(outbus, Limiter.ar(input, 0.9)); amplitudes = Array.fill(5, {| i | amp * (1/i)}); As long as your cursor is anywhere withintheparentheses,asingle[ctrl+Enter]willevaluatealllinesforyou(theyareexecutedin orderfromtoptobottom,butit’ssofastthatitseemssimultaneous). Download a selection of audio pieces composed of twitter-sized snippets of SuperCollider code. PSeq takes in an array as the first argument, and the number of times to repeat the sequence as the second argument. 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