HITHER GATE MUSIC

Starting Point (varied inputs)

The starting point can be any soundfile. It doesn't matter if the end result is poor because the point is to explore what happens with different types of input soundfile. The processing sequence is a template, an exploratory tool. It is used not only to produce good end results, but also to learn what kind of inputs work well with the given sequence.

The input should be mono, nicely dovetailed and any reasonable length. The aim here is to 'widen' a sound by transposing it while retaining the same length, a little above and a little below the original, and then mixing all three together.

Very tiny transpositions, such as 0.1 semitone (10 cents), give the sound a certain resonant aura. This can be very useful with pitched sounds. As the size of the transposition increases, and the overall sound 'widens', beat patterns begin to appear, especially with pitched material. The batch file as realised here transposes 1 full semitone up and down, so that we begin to hear a certain roughness from the beat patterns produced. It is worth exploring the WIDEN Sound-Builder Template not only with different source sounds, but also with various amounts of transposition. The examples supplied use asrcmix.wav as the input.

The sequence can be realised one step at a time with a graphic interface or all at once with a batch file. It would be very easy to edit this batch file in order to produce several amounts of transposition all at once.

(A batch file is an MS-DOS mechanism which runs commands. It is a text file with a .bat extension. It contains a series of commands and explanatory comments introduced with the word rem. In the Sound Loom GUI, the processing sequence can be constructed as an Instrument.)

I prefer to use a naming convention which indicates which processing function has been used. Thus, as a new sound grows, you can read the processing steps in the name itself.

Step 1: Copy

Make a copy of the input soundfile, giving it a single letter name.

It is presumed that the input is mono and begins and ends smoothly, i.e., without a click or being suddenly cut off. We only have to name the outfile. The default values for the copy procedure are used. because no change to the format is being made, i.e., sampletype = 1, header = 0 and formatout = 0. The outfile name is specified. The .wav extension is added automatically.

Dialogue box:

Default parameters

New name is 'f.wav'

Command:

rem function infile outfile
copysfx asrcmix.wav f.wav

Step 2: Analyse

Analyse the source

We need to analyse to that we can use spectral domain transposition. This enables us to make the sound higher or lower without changing its length.

Dialogue box:

Convert to analysis data

Command:

rem function mode infile outfile
pvoc anal 1 f f.ana

No need to play it here – it sounds just like the original.

Step 3: Transpose upwards

Transpose a little bit higher, keeping the same length.

This will give us another version of the sound at just a little higher pitch level. When mixed with the original, it will 'widen' the sound upwards. REPITCH TRANSPOSE is used to change the pitch level while retaining the same length. REPITCH TRANSPOSEF could also be used when it is important to retain the formant structure of the sound.

Dialogue box:

Spectral transposition upwards

Command:

rem function mode infile outfile
repitch transpose 3 f.ana fupabit.ana 1
pvoc synth fupabit.ana fupabit.wav

(We immediately resynthesise it because we need the .wav version for the mix.)

PLAY fupabit.mp3 (transposed higher)
New name: 'f fup...'

Step 4: Transpose downwards

Transpose a little bit lower, keeping the same length.

This will give us another version of the sound at just a little lower pitch level. When mixed with the original, it will 'widen' the sound downwards. REPITCH TRANSPOSE is used to change the pitch level while retaining the same length. REPITCH TRANSPOSEF could also be used when it is important to retain the formant structure of the sound.

Dialogue box:

Spectral transposition downwards

Command:

rem function mode infile outfile
repitch transpose 3 f.ana fdownabit.ana -1
pvoc synth fdownabit.ana fdownabit

(We immediately resynthesise it because we need the .wav version for the mix.)

PLAY fdownabit.mp3 (Transposed downwards, preserving duration)
New name: 'f fdown...'

Step 5: MIX

Mix upper, lower and original

Now we need to mix it all together, layering the upper and lower versions around the original. The mixfile widentrn.mix contains the names of the files, levels and pan information:

soundfiles              start chans levels  pan
e:\sdbats\fupabit.wav   0     1     0.5     -1
e:\sdbats\f.wav         0     1     0.8      0
e:\sdbats\fdownabit.wav 0     1     0.5      1

Dialogue box:

Mix the 3 files together

Command:

rem function mode infile outfile
submix mix widentrn.mix fwider

PLAY fwider.mp3 (the enhanced, 'widened' sound)
New name: 'f wider'

Complete Sequence: Batch File widen.bat

Use widendel.bat to remove the outputs

rem widen.bat - batch file to widen a sound with adjacent 
rem   transpositions;  forms Sound-Builder Template 6
rem very tight transpositions give the sound a resonant 
rem   aura, but wider transpositions start to produce 
rem   beats
rem Last updated: 20 August 2004

rem use widendel.bat to clear outputs between uses

rem Sources supplied:
rem   asrcmix.wav (12.6 sec.) - basic complex source sound
rem   aklcdp.wav  (1.38 sec) - drum riff
rem   bashdt.wav  (1.5 sec) - strong, metallic attacks
rem   frogcdt.wav (1.8 sec) - chirpy frog ribbets
rem   hoggdt.wav  (3.7 sec) - deep, rich hog grunt
rem   tomcdt.wav  (1.3 sec) - light drum tone 
rem   touccdt.wav (3.0 sec) - timbrally rich bird call
rem   whdtm.wav   (2.4 sec) - whirling tube

echo on

rem widen.bat - batch file to widen a sound with adjacent 
rem   transpositions;  forms Sound-Builder Template 6
rem very tight transpositions give the sound a resonant 
rem   aura, but wider transpositions start to produce 
rem   beats

echo on

rem STEP 1. COPY TO GENERIC NAME
copysfx asrcmix.wav f.wav

rem STEP 2. ANALYSE 
pvoc anal 1 f f.ana

rem STEP 3. TRANSPOSE UP (retaining same length)
repitch transpose 3 f.ana fupabit.ana 1.0
pvoc synth fupabit.ana fupabit.wav
del fupabit.ana

rem STEP 4. TRANSPOSE DOWN (retaining same length)
repitch transpose 3 f.ana fdownabit.ana -1.0
pvoc synth fdownabit.ana fdownabit.wav
del f.ana
del fdownabit.ana

rem STEP 5. MIX IT ALL TOGETHER
submix mix widentrn.mix fwider.wav

echo off

Further fine-tuning of the result might typically include adding some reverb and directional movement (panning).

---

SCREENSHOT UPDATES

(by Robert Fraser, March 2016)

The Soundshaper screenshots used in this tutorial are out of date in two respects:

• Output files are no longer named on Parameter Pages: instead, the output is saved to a temporary file and appears on the Main Page patchgrid in a new cell named after the process.
  If you want to save the output permanently, highlight the cell (if necessary) and click File/Save or CTRL+S to obtain a standard SAVE dialog:
  
  
  
  
  There is normally no need to do this until the end of the sequence.


• FFT conversion (PVOC Analysis / Resynthesis) now uses current settings and the FFT page is only used to set these, not to perform a conversion, as shown. As the tutorial examples use default values, there is nothing to set!
  Furthermore, Soundshaper does these conversions in the background, so you do not even have to select ANALYSE or SYNTH – just select the next process.

To run the WIDEN chain of CDP processes in Soundshaper:

[After each step, you can play the result in the transport panel.]

• STEP 1 (COPYSFX): Open the tutorial folder. Drag and drop the source asrcmix.wav onto Soundshaper's Main Page.
  Program runs COPYSFX and outputs to cell A_0.


• Copy cell A_0 to B_0: click on cell A_0; click the Copy Cell START button; click on cell B_0.
  The copy is needed as we will be transposing the source up (STEP 2) and also down (STEP 3).


• STEP 2 (PVOC ANALYSE): You can skip this step!
  The settings used are the defaults, so there is nothing to set.
  Soundshaper will run PVOC automatically before performing a spectral function.


• STEP 3 (TRANSPOSE UP): Click on cell A_0.Select Spectral/Pitch/Transpose.
  Parameter page (Mode 3 semitones): set parameter as in tutorial (Semitones: 1).
  Click OK to run; output appears in cell A_1 ("Transpose").


• STEP 3b (RE-SYNTHESISE): Hit F9 or click Spectral/PVOC/Synth. Output appears in cell A_2 ("Pvoc Synth"):
  
  
• STEP 4 (TRANSPOSE UP): Click on cell B_0. Hit F8 (repeat process) or select Spectral/Pitch/Transpose.
  Parameter page (Mode 3 semitones): set parameter as in tutorial (Semitones: -1).
  Click OK to run; output appears in cell B_1 ("Transpose").


• STEP 4b (RE-SYNTHESISE): Hit F9 or click Spectral/PVOC/Synth. Output appears in cell B_2 ("Pvoc Synth"):
  
  
• STEP 5 (MIX): Click on Cell A_2. Select Edit/Mix/Mix.
  'Add Input' dialog: click on cell A_0 (source) as 2nd input, then cell B_2 (2nd transposition) as 3rd input.
  Mix Parameter page: all three inputs are listed in the left panel. Click on the first (~A_2.wav) and set its parameters as in the tutorial (Level=0.5, Pan=-1):
  
  
  
  Click on the second input (~A_0.wav) and set its parameters as in the tutorial (Level=0.8, Pan=0).
  Click on the third input (~B_2.wav) and set its parameters as in the tutorial (Level=0.5, Pan=1).
  Click the MIX button to perform the mix. Output appears in cell A_3 ("Mix"). Play the result.
  
  


• SAVE FILE (OPTIONAL): Save the result to a permanent file. Hit CTRL+S or File / Save(As) to obtain a standard SAVE dialog.
  Enter a file name, e.g. widentrn.wav (or fwider.wav if you prefer).


• SAVE PATCH (OPTIONAL): Uncheck "Include Sources", unless you want to save the copied source (~A_0.wav) with the patch.
  Click the patch SAVE button (central panel). Select a save name (e.g. widentrn.ssp); click OK. Optionally enter a description; click OK.
  


• RUN PATCH (OPTIONAL): To run the patch with a different source (assuming the patchgrid has not been cleared), click on cell A_0, select a source (e.g. by drag+drop) and click the central RUN button, with the "Whole Patch" checkbox checked.


• RELOAD PATCH (OPTIONAL): If the patch is not on the grid, click the central LOAD button. Select the .ssp file (e.g. widentrn.ssp). If you have not saved the source (~A_0.wav), the patch will still run with it, provided it still exists in the same location. Otherwise, you will be prompted to select a source. To run the patch with a different source, see RUN PATCH above.