Subsample MIDI map: processing
controller
- Form
integerordefined_nameorwritten_number- Limits
- at least 0, at most 127
A MIDI controller number, or a name a definitions file gives one.
process_step
- Form
- one of those listed below or a block of keys
One processor: its name alone, for its defaults, or its name with its parameters.
Accepts one of:
repitch: Shifts the sound to a note, from the pitch Subsample detected in it, without changing its length.stretch_quantize: Moves each hit onto a beat grid by time-stretching the audio between hits, without changing its pitch.beat_quantize: Moves each hit onto a beat grid by time-stretching the audio between hits, without changing its pitch.pad_quantize: Moves each hit onto a beat grid by inserting silence between hits, so the audio keeps its own speed and timbre.filter_low: Rolls off the frequencies above the cutoff, so the sound darkens as the cutoff comes down.filter_high: Rolls off the frequencies below the cutoff, so the sound thins as the cutoff goes up.filter_band: Keeps the frequencies around its centre and rolls off those above and below.reverse: Plays the sound backwards.saturate: Rounds off the peaks with a soft curve for warmth, then restores the peak level, which also lifts the quieter parts.compress: Turns the sound down whenever it rises above the threshold, evening out its level. Left without settings, the threshold, attack and release adapt to each sample.limit: Holds the sound below a ceiling, catching every peak that would pass it.hpss: Separates the sound into its sustained, tonal part and its hits, and keeps one of them.hpss_harmonic: Separates the sound into its sustained, tonal part and its hits, and keeps one of them.hpss_percussive: Separates the sound into its sustained, tonal part and its hits, and keeps one of them.gate: Silences the sound whenever it falls below the threshold, cutting the noise between and after hits. Left without settings, every value adapts to each sample.distort: Pushes the sound into a waveshaper, then restores its peak level. Left without settings, the drive and the tone adapt to each sample: a peaky sound is driven less, and a bright one is darkened more.bit_depth: Requantises the sound to fewer bits, for the grit of a vintage sampler's converter. It adds no drive, filtering or change of level.radio: Sends the sound over a radio link and receives it again: modulated, weakened by noise and fading on the way, and demodulated, rightly or deliberately wrongly.freqshift: Adds the same number of hertz to every partial, which breaks the ratios between harmonics: a small shift detunes and phases, and a large one sounds clangorous and metallic. It is not a pitch shift.wobble: A slow, continuous drift of the tuning, like an unsteady oscillator.reshape: Reshapes how the sound's level moves over time: tighten a loose kick, cut a reverb tail short, or give a soft onset more punch. Left without settings, it tightens the tail to suit the sample.transient: Turns the hits in the sound up or down against its sustained part, then restores the peak level.vocoder: Imposes the sound's changing spectrum on a carrier, so the carrier takes on the sound's rhythm and articulation.
repitch in process_step
- Form
booleanornullor a block of keys- Example
{note: C3}
Shifts the sound to a note, from the pitch Subsample detected in it, without changing its length.
note in repitch
- Form
integerorstring- Limits
- at least 0, at most 127
- Examples
48,C3
The note to shift the sound to. Left out, the note played, so the sound follows the keyboard.
stretch_quantize in process_step
- Form
booleanornullor a block of keys- Examples
{grid: 16, strength: 0.7},{beats: 8, grid: 32}
Moves each hit onto a beat grid by time-stretching the audio between hits, without changing its pitch.
tempo in stretch_quantize
- Form
numberorcc_binding- Limits
- above 0
- Example
120
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
bpm in stretch_quantize
- Form
numberorcc_binding- Limits
- above 0
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
grid in stretch_quantize
- Form
integerorcc_binding- Limits
- at least 1
- Example
16
How many equal parts a whole note is divided into: 16 puts every hit on a sixteenth note. Left out, the quantise resolution Subsample is configured with.
beats in stretch_quantize
- Form
numberorcc_binding- Limits
- above 0
- Example
8
How many beats of the tempo the whole sound is stretched to fill, first moment to last, whatever speed it was played at. Left out, the length follows the sample: the sound is stretched by the difference between the tempo Subsample detected in it and the tempo here.
strength in stretch_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.7
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
amount in stretch_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
segment in stretch_quantize
- Form
- one of those listed below or
integer - Limits
- at least 1
- Example
3
Plays one hit of the quantised sound per note instead of the whole sound: the next in turn, one at random, or always the same one, counted from 1. Left out, every note plays the whole sound.
Accepts one of:
round_robin: Each note plays the next hit in order, and starts again after the last.random: Each note plays a hit chosen at random.
beat_quantize in process_step
- Form
booleanornullor a block of keys
Moves each hit onto a beat grid by time-stretching the audio between hits, without changing its pitch.
tempo in beat_quantize
- Form
numberorcc_binding- Limits
- above 0
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
bpm in beat_quantize
- Form
numberorcc_binding- Limits
- above 0
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
grid in beat_quantize
- Form
integerorcc_binding- Limits
- at least 1
How many equal parts a whole note is divided into: 16 puts every hit on a sixteenth note. Left out, the quantise resolution Subsample is configured with.
beats in beat_quantize
- Form
numberorcc_binding- Limits
- above 0
How many beats of the tempo the whole sound is stretched to fill, first moment to last, whatever speed it was played at. Left out, the length follows the sample: the sound is stretched by the difference between the tempo Subsample detected in it and the tempo here.
strength in beat_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
amount in beat_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
segment in beat_quantize
- Form
- one of those listed below or
integer - Limits
- at least 1
Plays one hit of the quantised sound per note instead of the whole sound: the next in turn, one at random, or always the same one, counted from 1. Left out, every note plays the whole sound.
Accepts one of:
round_robin: Each note plays the next hit in order, and starts again after the last.random: Each note plays a hit chosen at random.
pad_quantize in process_step
- Form
booleanornullor a block of keys- Example
{tempo: 120, grid: 8}
Moves each hit onto a beat grid by inserting silence between hits, so the audio keeps its own speed and timbre.
tempo in pad_quantize
- Form
numberorcc_binding- Limits
- above 0
- Example
120
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
bpm in pad_quantize
- Form
numberorcc_binding- Limits
- above 0
The tempo the beat grid is laid out at. Left out, the session tempo, which follows MIDI clock when Subsample is set to.
grid in pad_quantize
- Form
integerorcc_binding- Limits
- at least 1
- Example
16
How many equal parts a whole note is divided into: 16 puts every hit on a sixteenth note. Left out, the quantise resolution Subsample is configured with.
strength in pad_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.7
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
amount in pad_quantize
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
How far each hit moves toward the grid. At 1 every hit lands on the grid, and lower values move each one partway, for a looser feel.
segment in pad_quantize
- Form
- one of those listed below or
integer - Limits
- at least 1
- Example
3
Plays one hit of the quantised sound per note instead of the whole sound: the next in turn, one at random, or always the same one, counted from 1. Left out, every note plays the whole sound.
Accepts one of:
round_robin: Each note plays the next hit in order, and starts again after the last.random: Each note plays a hit chosen at random.
filter_low in process_step
- Form
booleanornullor a block of keys- Example
{freq: 800, resonance: 6}
Rolls off the frequencies above the cutoff, so the sound darkens as the cutoff comes down.
freq in filter_low
- Form
numberorcc_binding- Default
16.0e+3- Limits
- above 1
- Example
800
The frequency above which the filter rolls off.
resonance in filter_low
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 24
- Example
6
A peak at the cutoff. At 0 the filter is flat, and higher values make the cutoff ring more.
filter_high in process_step
- Form
booleanornullor a block of keys- Example
{freq: 120}
Rolls off the frequencies below the cutoff, so the sound thins as the cutoff goes up.
freq in filter_high
- Form
numberorcc_binding- Default
80- Limits
- above 1
- Example
120
The frequency below which the filter rolls off.
resonance in filter_high
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 24
- Example
6
A peak at the cutoff. At 0 the filter is flat, and higher values make the cutoff ring more.
filter_band in process_step
- Form
booleanornullor a block of keys- Example
{freq: 1200, q: 4}
Keeps the frequencies around its centre and rolls off those above and below.
freq in filter_band
- Form
numberorcc_binding- Default
1000- Limits
- above 1
- Example
1200
The frequency at the centre of what the filter keeps.
q in filter_band
- Form
numberorcc_binding- Default
0.7- Limits
- at least 0.1, at most 20
- Example
4
How narrowly the filter keeps the frequencies around its centre. A lower Q keeps a wider range, and a higher Q a narrower one.
resonance in filter_band
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 24
- Example
6
A peak at the centre. At 0 the filter is flat, and higher values make the centre ring more.
reverse in process_step
- Form
booleanornullor a block of keys
Plays the sound backwards.
saturate in process_step
- Form
booleanornullor a block of keys- Example
{drive: 4}
Rounds off the peaks with a soft curve for warmth, then restores the peak level, which also lifts the quieter parts.
drive in saturate
- Form
numberorcc_binding- Default
6- Limits
- at least 0
- Example
4
How hard the sound is pushed into the curve. At 0 the processor has no effect, and more drive gives more distortion.
amount in saturate
- Form
numberorcc_binding- Default
6- Limits
- at least 0
How hard the sound is pushed into the curve. At 0 the processor has no effect, and more drive gives more distortion.
compress in process_step
- Form
booleanornullor a block of keys- Example
{threshold: -20, ratio: 8, attack: 10}
Turns the sound down whenever it rises above the threshold, evening out its level. Left without settings, the threshold, attack and release adapt to each sample.
threshold in compress
- Form
numberorcc_binding- Example
-20
The level above which the compressor turns the sound down, below full scale. Every sample is normalised before it is processed, so a threshold is the same depth below the peak for every sample. Left out, it sits a little below the sample's peak, so the compressor always acts.
ratio in compress
- Form
numberorcc_binding- Default
4- Limits
- at least 1
- Example
8
How strongly the level is turned down above the threshold. At 1 there is no compression, and a higher ratio squashes harder.
attack in compress
- Form
numberorcc_binding- Limits
- at least 0
- Example
10
How quickly the compressor acts once the sound passes the threshold. A slower attack lets the front of a hit through, for more punch. Left out, it follows the sample: slower for a percussive sound, faster for a gradual one.
release in compress
- Form
numberorcc_binding- Limits
- at least 0
- Example
120
How quickly the compressor lets go once the sound falls back below the threshold. Left out, it follows the sample: shorter for a quick decay, longer for a sustained sound.
knee in compress
- Form
numberorcc_binding- Default
6- Limits
- at least 0
- Example
12
How gradually compression begins around the threshold. At 0 it begins abruptly, and a wider knee eases it in.
makeup in compress
- Form
numberorcc_binding- Default
0- Example
3
Gain added after compression, to make up the level it took away.
lookahead in compress
- Form
numberorcc_binding- Default
0- Limits
- at least 0
- Example
5
How far ahead the compressor looks, so it acts before a peak arrives. The rendered sound starts this much later and loses as much from its end. At 0 there is no look-ahead.
limit in process_step
- Form
booleanornullor a block of keys- Example
{threshold: -0.5}
Holds the sound below a ceiling, catching every peak that would pass it.
threshold in limit
- Form
numberorcc_binding- Default
-1- Example
-0.5
The highest level the sound may reach, below full scale.
release in limit
- Form
numberorcc_binding- Default
50- Limits
- at least 0
- Example
120
How quickly the limiter lets go after a peak.
lookahead in limit
- Form
numberorcc_binding- Default
5- Limits
- at least 0
- Example
10
How far ahead the limiter looks, so it catches a peak before it passes the ceiling. The rendered sound starts this much later and loses as much from its end. At 0 there is no look-ahead.
hpss in process_step
- Form
booleanornullor a block of keys- Example
{keep: percussive}
Separates the sound into its sustained, tonal part and its hits, and keeps one of them.
keep in hpss
- Form
- one of those listed below
Which part of the sound to keep.
Accepts one of:
harmonic: The sustained, tonal part, without the hits.percussive: The hits and transients, without the sustained tone.
hpss_harmonic in process_step
- Form
booleanornullor a block of keys
Separates the sound into its sustained, tonal part and its hits, and keeps one of them.
keep in hpss_harmonic
- Form
- one of those listed below
Which part of the sound to keep.
Accepts one of:
harmonic: The sustained, tonal part, without the hits.percussive: The hits and transients, without the sustained tone.
hpss_percussive in process_step
- Form
booleanornullor a block of keys
Separates the sound into its sustained, tonal part and its hits, and keeps one of them.
keep in hpss_percussive
- Form
- one of those listed below
Which part of the sound to keep.
Accepts one of:
harmonic: The sustained, tonal part, without the hits.percussive: The hits and transients, without the sustained tone.
gate in process_step
- Form
booleanornullor a block of keys- Example
{threshold: -40, hold: 20}
Silences the sound whenever it falls below the threshold, cutting the noise between and after hits. Left without settings, every value adapts to each sample.
threshold in gate
- Form
numberorcc_binding- Example
-40
The level below which the gate closes, below full scale. Left out, it sits a little above the sample's noise floor.
attack in gate
- Form
numberorcc_binding- Limits
- at least 0
- Example
1
How quickly the gate opens once the sound rises past the threshold. Left out, it follows the sample: fast for a percussive sound, slower for a sustained one, which avoids a click.
release in gate
- Form
numberorcc_binding- Limits
- at least 0
- Example
80
How quickly the gate closes once the sound falls below the threshold. Left out, it follows the sample: short for a percussive sound, long for a sustained one.
hold in gate
- Form
numberorcc_binding- Limits
- at least 0
- Example
20
How long the gate stays open after the sound falls below the threshold, so a decaying tail does not chatter. Left out, it follows the sample's decay.
lookahead in gate
- Form
numberorcc_binding- Limits
- at least 0
- Example
2
How far ahead the gate looks, so it opens before a hit arrives. The rendered sound starts this much later and loses as much from its end. Left out, it follows the sample: a little for a percussive sound, none for a sustained one.
distort in process_step
- Form
booleanornullor a block of keys- Examples
{mode: fold, drive: 12},{mode: bit_crush, bit_depth: 4, mix: 0.5}
Pushes the sound into a waveshaper, then restores its peak level. Left without settings, the drive and the tone adapt to each sample: a peaky sound is driven less, and a bright one is darkened more.
mode in distort
- Form
- one of those listed below
- Default
hard_clip
The shape the waveshaper gives the sound.
Accepts one of:
hard_clip: Flattens every peak at full scale, as an overdriven digital input does.fold: Folds each peak back on itself past full scale, for brighter harmonics than clipping gives.bit_crush: Snaps the driven sound to fewer amplitude levels, for lo-fi grit.downsample: Keeps one frame in every few and repeats it, lowering the effective sample rate and adding aliasing.
drive in distort
- Form
numberorcc_binding- Example
12
Gain before the waveshaper: more drive, more distortion. Left out, it follows the sample's crest factor, so a peaky sound is driven less.
tone in distort
- Form
numberorcc_binding- Limits
- at least 0, at most 1
- Example
0.4
A low-pass filter after the waveshaper, which tames the harmonics it adds. At 1 the sound passes unfiltered, and lower values darken it. Left out, it follows the sample's brightness.
mix in distort
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.5
The balance between the processed sound and the original. At 1 only the processed sound plays, and at 0 the processor has no effect.
bit_depth in distort
- Form
integerorcc_binding- Default
8- Limits
- at least 1, at most 16
- Example
4
How many bits bit_crush keeps. Fewer bits sound coarser and grittier.
downsample_factor in distort
- Form
integerorcc_binding- Default
4- Limits
- at least 2, at most 64
- Example
8
How many frames each kept frame fills in downsample mode. A higher factor gives a lower effective sample rate.
bit_depth in process_step
- Form
booleanornullorintegeror a block of keys- Limits
- at least 1, at most 16
- Examples
8,{bits: 8, dither: triangular}
Requantises the sound to fewer bits, for the grit of a vintage sampler's converter. It adds no drive, filtering or change of level.
bits in bit_depth
- Form
integerorcc_binding- Default
12- Limits
- at least 1, at most 16
- Example
8
How many bits the sound is stored in. Fewer bits sound coarser and grittier.
dither in bit_depth
- Form
booleanor one of those listed below- Default
none
Noise added before the sound is requantised, which trades the grit in quiet passages for a steady hiss, over silence too. true is triangular, and false is none.
Accepts one of:
none: No dither: quiet passages and tails break up into grit, as they do on vintage converters.triangular: The standard dither: the grit becomes a steady hiss that does not follow the sound.rectangular: A little less hiss than triangular, with some of the hiss still rising and falling with the sound.
radio in process_step
- Form
booleanornullor a block of keys- Example
{mode: ssb, tune: 150, signal: 0.3}
Sends the sound over a radio link and receives it again: modulated, weakened by noise and fading on the way, and demodulated, rightly or deliberately wrongly.
mode in radio
- Form
- one of those listed below
- Default
am
How the sound is sent.
Accepts one of:
am: Amplitude modulation, the cleanest round trip of the four.lw: Amplitude modulation through a steep, narrow longwave filter, which takes away more of the top end.fm: Narrowband frequency modulation, as a two-way radio sends it.ssb: Single sideband: a voice sent without its carrier, which sounds garbled when the receiver is mistuned.
demod in radio
- Form
- one of those listed below
- Default
matched
How the sound is received, which may be deliberately wrong for how it was sent.
Accepts one of:
matched: The receiver that suits the transmission.am: An AM receiver, whatever was sent. AM and FM received as each other give harsh noise.fm: An FM receiver, whatever was sent. AM and FM received as each other give harsh noise.ssb: An SSB receiver, whatever was sent. FM received this way gives a musical warble.
tune in radio
- Form
numberorcc_binding- Default
0- Example
150
How far the receiver is tuned off the station. A mistuned SSB voice sounds high or low and garbled.
signal in radio
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 1
- Example
0.3
How weak the station is: more hiss, clicks on FM, and the receiver's gain swelling as the signal fades. At 0 the signal is strong.
static in radio
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 1
- Example
0.5
How much atmospheric crackle breaks in. At 0 there is none.
fade in radio
- Form
numberorcc_binding- Default
0- Limits
- at least 0, at most 1
- Example
0.6
How deeply the signal swims in and out, as a distant shortwave station does. At 0 it holds steady.
bandwidth in radio
- Form
numberorcc_binding- Limits
- above 0
- Example
2500
How wide a range of audio frequencies the radio path passes. A narrower bandwidth sounds more muffled. Left out, each transmission uses its own.
stereo in radio
- Form
- one of those listed below
- Default
mono
Whether the sound is received once, or once for each audio channel.
Accepts one of:
mono: One receiver, so the sound collapses to mono, as a real radio does.stereo: A receiver for each audio channel, with its own hiss and the same crackle.
mix in radio
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.5
The balance between the processed sound and the original. At 1 only the processed sound plays, and at 0 the processor has no effect.
freqshift in process_step
- Form
booleanornullornumberor a block of keys- Examples
1000,{shift_hz: 50, mix: 0.5}
Adds the same number of hertz to every partial, which breaks the ratios between harmonics: a small shift detunes and phases, and a large one sounds clangorous and metallic. It is not a pitch shift.
shift_hz in freqshift
- Form
numberorcc_binding- Default
0- Example
50
How far every partial moves. A negative shift moves them down.
mix in freqshift
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.5
The balance between the processed sound and the original. At 1 only the processed sound plays, and at 0 the processor has no effect.
wobble in process_step
- Form
booleanornullornumberor a block of keys- Limits
- at least 0
- Examples
6,{depth: 6, rate: 0.8}
A slow, continuous drift of the tuning, like an unsteady oscillator.
depth in wobble
- Form
numberorcc_binding- Default
5- Limits
- at least 0
- Example
6
How far the tuning drifts either side of its centre.
rate in wobble
- Form
numberorcc_binding- Default
0.3- Limits
- above 0
- Example
0.8
How fast the tuning drifts back and forth.
base in wobble
- Form
numberorcc_binding- Default
0- Example
10
A constant shift that the drift rides on.
mix in wobble
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.5
The balance between the processed sound and the original. At 1 only the processed sound plays, and at 0 the processor has no effect.
reshape in process_step
- Form
booleanornullor a block of keys- Example
{attack: 5, release: 100}
Reshapes how the sound's level moves over time: tighten a loose kick, cut a reverb tail short, or give a soft onset more punch. Left without settings, it tightens the tail to suit the sample.
attack in reshape
- Form
numberorcc_binding- Limits
- at least 0
- Example
5
How long the sound takes to reach its peak. Left out, the sample's own attack is kept.
hold in reshape
- Form
numberorcc_binding- Default
0- Limits
- at least 0
- Example
20
How long the sound stays at its peak before it decays.
decay in reshape
- Form
numberorcc_binding- Limits
- at least 0
- Example
150
How long the sound takes to fall from its peak to the sustain level. Left out, the sample's own decay is kept.
sustain in reshape
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.5
The level the sound settles at after its decay, as a share of its peak. At 1 it stays at the peak.
release in reshape
- Form
numberorcc_binding- Limits
- at least 0
- Example
100
How long the sound takes to fade out at its end. Left out, it follows the sample's decay, which tightens the tail.
transient in process_step
- Form
booleanornullor a block of keys- Example
{gain: 6}
Turns the hits in the sound up or down against its sustained part, then restores the peak level.
gain in transient
- Form
numberorcc_binding- Example
6
How far the hits are turned up, or down where the gain is negative. Left out, it follows the sample's crest factor, so a peaky sound is tamed and a dull one enhanced.
amount in transient
- Form
numberorcc_binding
How far the hits are turned up, or down where the gain is negative. Left out, it follows the sample's crest factor, so a peaky sound is tamed and a dull one enhanced.
vocoder in process_step
- Form
booleanornullor a block of keys- Examples
{carrier: reference},{carrier: carriers/vowel-ah.wav, bands: 16, depth: 0.8}
Imposes the sound's changing spectrum on a carrier, so the carrier takes on the sound's rhythm and articulation.
carrier in vocoder
- Form
- one of those listed below or
string - Limits
- at least 1 character
- Example
carriers/vowel-ah.wav
The sound the vocoder shapes: reference, or the path to an audio file.
Accepts one of:
reference: The reference sample for the note played.
bands in vocoder
- Form
integerorcc_binding- Default
24- Limits
- at least 1
- Example
16
How many spectral bands the vocoder divides the sound into. Fewer sound more robotic, and more sound more natural.
depth in vocoder
- Form
numberorcc_binding- Default
1- Limits
- at least 0, at most 1
- Example
0.8
The balance between the vocoded sound and the original. At 1 only the vocoded sound plays, and at 0 the vocoder has no effect.
formant_shift in vocoder
- Form
integerorcc_binding- Default
0- Example
-5
Moves the carrier's spectral bands up or down against the sound's own, which changes the apparent size of a voice.
cc_binding
- Form
- a block of keys
- Examples
{cc: 74},{cc: 74, channel: 2, min: 200, max: 8000, default: 1000}
A MIDI controller in place of a fixed value, so a knob or a fader sets it. A value outside what the parameter allows is refused when the map loads, and so is a binding on a parameter that takes a word.
cc in cc_binding
- Form
controller- Required
- yes
- Examples
74,my.sampler_release
The MIDI controller that sets the value.
channel in cc_binding
- Form
channel- Example
2
The only MIDI channel the controller is read on. Left out, every MIDI channel.
min in cc_binding
- Form
number- Example
200
The value at the bottom of the knob's travel. Left out, the bottom of the parameter's own range. A min above max turns the knob round.
max in cc_binding
- Form
number- Example
8000
The value at the top of the knob's travel. Left out, the top of the parameter's own range.
default in cc_binding
- Form
number- Example
1000
The value until the controller first moves. Left out, the value the parameter has without the knob, or the middle of the knob's travel where that value lies outside it.