ckmahoney

// copy and paste me into your browser console to play music!

function createReverbNode(context, decayTime = 3, wetLevel = 0.33) {
    const reverbNode = context.createConvolver();

    // Create an impulse response buffer for the reverb
    const bufferLength = context.sampleRate * decayTime;
    const impulseResponse = context.createBuffer(2, bufferLength, context.sampleRate);

    // Fill the buffer with random noise for a simple reverb effect

ckmahoney

(
// major scale
var freqs= [ 1.0, 1.0, 1.125, 1.25, 1.3333333333333, 1.5, 1.5, 1.6666666666667, 1.875 ];

// whare are ur snares
var samples = PathName("~/stage/assets/samples/snare").files;

// for Promise-like behavior in supercollider, use a FlowVar
var flows = Array.fill(samples.size, {FlowVar.new});

ckmahoney

/*

Generate a list of new FM synths

This is a good preset for target frequencies in 50 - 600 Hz range.
Above that produces aliasing effects on the highs, and below on the lows.

*/

(

ckmahoney

(comment 
  "
  Let the choir make the call!

  I love Just Intonation and want it to be the absolute answer
  for perfect composition. 

  However JI does not quite answer everything. Or does it?

  For example a popular audio effect is detune,

ckmahoney

/**
How to Emperically measure the Quality of Music,
or Applying Harmonics to Non-Musical Source to Produce a Musical Signal

When people ask for empirical evidence that Harmonic Theory works,
we must first agree on a method to measure the "musicality" of a signal.



Generally we can agree that a pure White Noise signal (even distribution of frequencies across the given range in Hertz) is not musical. In the domain of sound, it is the antithesis of music because there is no discrete rhythmic structure and no discrete harmonic structure (example 1)

ckmahoney

/**
Here we create a "sidechain compressor" effect.

Given two audio files, we are able to have one of the files change its volume in response to the other.
This is an extremely useful and versatile effect: All professional music mastering involves dynamic compression
at many scales.

In contemporary and art music, it is applied lightly. In dance music and popular styles, it is often heavy.

This is a heavy example, for drastic effect. Here we are:

ckmahoney

/**
Routing dynamic effects for any Synth

The issue was that a list of arguments can not be passed in as args for SynthDef.

For examle say you want to apply both a reverb and delay to a hat sound.

One way is to write explicit args for each effect :

SynthDef(\hat, {|out=0, reverbChannel =4, delayChannel = 6|