在 SuperCollider 中设计声音/电话铃声
在本书中，共振的一个分音符使用正弦波建模，并通过一个在二次曲线形状上逐渐衰减的包络进行调制。然后制作三组这样的振荡器。
在这里，我们利用了 SuperCollider 中的一个内置单元 Klank，它为我们做了很多工作：不同之处在于，它提供了指数衰减而不是二次衰减——这并不太糟糕，因为指数衰减通常是您想要的。
(
{
var son;
son = Klank.ar(`[
[521, 732, 934], // freqs
[0.7, 0.45, 0.25],// amps
[0.8, 0.8, 0.8] // ring times
],
Impulse.ar(1));
Pan2.ar(son * 0.2)
}.play
)
正如书中所述，我们只需要一个简短的点击来近似模拟声音的这部分。
(
x = {
var son = WhiteNoise.ar(XLine.ar(1, 0.000001, 0.01, doneAction: 2)) * 0.1;
Pan2.ar(son)
}.play
)
(
SynthDef(\dsaf_phonebell1, { |freq=465, strength=1, decay=3|
var son;
son = Klank.ar(`[
// frequency ratios
[0.501, 1, 0.7, 2.002, 3, 9.6, 2.49, 11, 2.571, 3.05, 6.242, 12.49, 13, 16, 24],
// amps
[0.002,0.02,0.001, 0.008,0.02,0.004, 0.02,0.04,0.02, 0.005,0.05,0.05, 0.02, 0.03, 0.04],
// ring times - "stutter" duplicates each entry threefold
[1.2, 0.9, 0.25, 0.14, 0.07].stutter(3)
]
, Impulse.ar(1), freq, 0, decay);
Out.ar(0, Pan2.ar(son));
}).add
)
x = Synth(\dsaf_phonebell1, [\freq, 500]);
注意：在添加以下效果时，让铃声继续播放
(
SynthDef(\dsaf_phonecase1, { |in=0, out=0, mix=0|
var casein = In.ar(in, 2);
var delayA = CombC.ar(casein, 0.00077, 0.00077, 0.1);
var delayB = CombC.ar(delayA, 0.00088, 0.00088, 0.1);
var bands = BPF.ar(delayB, [1243, 287, 431], 1/12).sum;
var son = bands.clip2(0.3);
ReplaceOut.ar(out, XFade2.ar(casein, son, mix))
}).add
)
y = Synth(\dsaf_phonecase1, target: x, addAction: \addAfter);
如果您使用的是 sc3.3 或更高版本，您可以可视化过滤器效果的频率表示
GUI.stethoscope.defaultServer.boot;
(
// Notice that for this shortcut visualisation, we define the filter as a function taking its
// input as an argument, and returning its output (we don't use In.ar or Out.ar)
{ |casein|
var delayA = CombC.ar(casein, 0.00077, 0.00077, 0.1);
var delayB = CombC.ar(delayA, 0.00088, 0.00088, 0.1);
var bands = BPF.ar(delayB, [1243, 287, 431], 1/12).sum;
var son = bands.clip2(0.3);
// Mouse to the LEFT means flat filter (no change), to the RIGHT means full bakelite
XFade2.ar(casein, son, MouseX.kr(-1,1));
}.scopeResponse
)
我们将重新使用图 29.14 中的 SynthDef，因此请确保您已运行它，以便服务器具有该 SynthDef。（但如果声音仍在播放，请将其停止。）
// A tweaked version of the phonebell synthdef, to take an on/off from outside, and incorporate the striker
(
SynthDef(\dsaf_phonebell2, { |gate=1, freq=465, strength=1, decay=3, amp=1|
var trigs, striker, son;
trigs = Impulse.ar(14) * gate;
striker = WhiteNoise.ar(EnvGen.ar(Env.perc(0.0000001, 0.01), trigs));
son = Klank.ar(`[
// frequency ratios
[0.501, 1, 0.7, 2.002, 3, 9.6, 2.49, 11, 2.571, 3.05, 6.242, 12.49, 13, 16, 24],
// amps
[0.002,0.02,0.001, 0.008,0.02,0.004, 0.02,0.04,0.02, 0.005,0.05,0.05, 0.02, 0.03, 0.04],
// ring times - "stutter" duplicates each entry threefold
[1.2, 0.9, 0.25, 0.14, 0.07].stutter(3)
]
, striker, freq, 0, decay);
Out.ar(0, Pan2.ar(son * amp));
}).add
)
// We could launch the patch all at once, but let's do it bit-by-bit so we understand what's going on
// Here we start the phone bells constantly ringing. We put them in a group for convenience
~bellgroup = Group.new(s);
~bell1 = Synth(\dsaf_phonebell2, [\freq, 650], ~bellgroup);
~bell2 = Synth(\dsaf_phonebell2, [\freq, 653], ~bellgroup);
// Now we add the bakelite
y = Synth(\dsaf_phonecase1, [\mix, -0.65], target: ~bellgroup, addAction: \addAfter);
// OK, shush for now
~bellgroup.set(\gate, 0);
// Now let's turn them on and off in a telephone-like pattern.
// This could be done using a synth, but let's use a (client-side) pattern:
p = Pbind(\type, \set, \id, ~bellgroup.nodeID, \args, [\gate], \gate, Pseq([1,0], inf), \dur, 2).play
p.stop