Example

In the following example, a simple SMS based piano synthesizer is implemented. Only one dimension of the timbre space is used and the number of control parameters used have been reduced to the minimum to keep the example simple.

Note: The reserved characters '#' and '@' mean the value of the parameter and the number of the Generator involved respectively; a line starting with '/' is a comment that will therefore not be interpreted; ``T'' refers to the default duration of an existing sample.

$\begin{spacing}{0.8} \texttt{\footnotesize /First we define 86 generators named ... ...yzed and stored in SDIF format at equidistant}{\footnotesize\par } \end{spacing}$

points

$\begin{spacing}{0.8} \texttt{\footnotesize \char\lq \uml {}c:\textbackslash... ...Note that this bpf applies a low-pass filter }{\footnotesize\par } \end{spacing}$

/depending on the value of a given parameter.

$\begin{spacing}{0.8} \texttt{\footnotesize ParamBPF :\{\char\lq \uml {}PianoLPF,Lin... ...e overall gain, and the gain to be applied to}{\footnotesize\par } \end{spacing}$

/the sinusoidal or residual components

$\begin{spacing}{0.8} \texttt{\footnotesize LLParams :\{}{\footnotesize\par } \pa... ...y, Key Number and Pitch) we control both the }{\footnotesize\par } \end{spacing}$

/low-level parameters and the timbre space location

$\begin{spacing}{0.8} \texttt{\footnotesize HLParams :\{}{\footnotesize\par } \pa... ...cum{}@ , (TimbreSpace,(@/85))\char\lq \uml {} \}}{\footnotesize\par } \end{spacing}$

/Note that KeyNumber and Pitch are alternative ways of controlling the same feature

2004-10-18