Documentation

The jux function creates strange stereo effects, by applying a function to a pattern, but only in the right-hand channel. For example, the following reverses the pattern on the righthand side:

d1 $ slow 32 $ jux (rev) $ striate' 32 (1/16) $ sound "bev"

When passing pattern transforms to functions like jux and every, it's possible to chain multiple transforms together with ., for example this both reverses and halves the playback speed of the pattern in the righthand channel:

d1 $ slow 32 $ jux ((# speed "0.5") . rev) $ striate' 32 (1/16) $ sound "bev"

In addition to jux, jux' allows using a list of pattern transform. resulting patterns from each transformation will be spread via pan from left to right.

For example:

d1 $ jux' [iter 4, chop 16, id, rev, palindrome] $ sound "bd sn"

will put `iter 4` of the pattern to the far left and palindrome to the far right. In the center the original pattern will play and mid left mid right the chopped and the reversed version will appear.

One could also write:

d1 $ stack [  
    iter 4 $ sound "bd sn" # pan "0",  
    chop 16 $ sound "bd sn" # pan "0.25",  
    sound "bd sn" # pan "0.5",  
    rev $ sound "bd sn" # pan "0.75",  
    palindrome $ sound "bd sn" # pan "1",  
    ]  

Multichannel variant of jux, _not sure what it does_

With jux, the original and effected versions of the pattern are panned hard left and right (i.e., panned at 0 and 1). This can be a bit much, especially when listening on headphones. The variant juxBy has an additional parameter, which brings the channel closer to the centre. For example:

d1 $ juxBy 0.5 (density 2) $ sound "bd sn:1"

In the above, the two versions of the pattern would be panned at 0.25 and 0.75, rather than 0 and 1.

Smash is a combination of spread and striate - it cuts the samples into the given number of bits, and then cuts between playing the loop at different speeds according to the values in the list.

So this:

d1 $ smash 3 [2,3,4] $ sound "ho ho:2 ho:3 hc"

Is a bit like this:

d1 $ spread (slow) [2,3,4] $ striate 3 $ sound "ho ho:2 ho:3 hc"

This is quite dancehall:

d1 $ (spread' slow "1%4 2 1 3" $ spread (striate) [2,3,4,1] $ sound
"sn:2 sid:3 cp sid:4")
  # speed "[1 2 1 1]/2"

an altenative form to smash is smash' which will use chop instead of striate.

spin will "spin" a layer up a pattern the given number of times, with each successive layer offset in time by an additional `1/n` of a cycle, and panned by an additional `1/n`. The result is a pattern that seems to spin around. This function works best on multichannel systems.

d1 $ slow 3 $ spin 4 $ sound "drum*3 tabla:4 [arpy:2 ~ arpy] [can:2 can:3]"

scale will take a pattern which goes from 0 to 1 (like sine1), and scale it to a different range - between the first and second arguments. In the below example, `scale 1 1.5` shifts the range of sine1 from 0 - 1 to 1 - 1.5.

d1 $ jux (iter 4) $ sound "arpy arpy:2*2"
  |+| speed (slow 4 $ scale 1 1.5 sine1)

scalex is an exponential version of scale, good for using with frequencies. Do *not* use negative numbers or zero as arguments!

chop granualizes every sample in place as it is played, turning a pattern of samples into a pattern of sample parts. Use an integer value to specify how many granules each sample is chopped into:

d1 $ chop 16 $ sound "arpy arp feel*4 arpy*4"

Different values of chop can yield very different results, depending on the samples used:

d1 $ chop 16 $ sound (samples "arpy*8" (run 16))
d1 $ chop 32 $ sound (samples "arpy*8" (run 16))
d1 $ chop 256 $ sound "bd*4 [sn cp] [hh future]*2 [cp feel]"

gap is similar to chop in that it granualizes every sample in place as it is played, but every other grain is silent. Use an integer value to specify how many granules each sample is chopped into:

d1 $ gap 8 $ sound "jvbass"
d1 $ gap 16 $ sound "[jvbass drum:4]"

weave applies a function smoothly over an array of different patterns. It uses an OscPattern to apply the function at different levels to each pattern, creating a weaving effect.

d1 $ weave 3 (shape $ sine1) [sound "bd [sn drum:2*2] bd*2 [sn drum:1]", sound "arpy*8 ~"]

weave' is similar in that it blends functions at the same time at different amounts over a pattern:

d1 $ weave' 3 (sound "bd [sn drum:2*2] bd*2 [sn drum:1]") [density 2, (# speed "0.5"), chop 16]

(A function that takes two OscPatterns, and blends them together into a new OscPattern. An OscPattern is basically a pattern of messages to a synthesiser.)

Shifts between the two given patterns, using distortion.

Example:

d1 $ interlace (sound  "bd sn kurt") (every 3 rev $ sound  "bd sn:2")

Step sequencing

like step, but allows you to specify an array of strings to use for 0,1,2...

up does a poor man's pitchshift by semitones via speed.

You can easily produce melodies from a single sample with up:

d1  sound "arpy"

This will play the _arpy_ sample four times a cycle in the original pitch, pitched by 5 semitones, by 4 and then by an octave.

loopAt makes a sample fit the given number of cycles. Internally, it works by setting the unit parameter to "c", changing the playback speed of the sample with the speed parameter, and setting setting the density of the pattern to match.

d1 $ loopAt 4 $ sound "breaks125"
d1 $ juxBy 0.6 (|*| speed "2") $ slowspread (loopAt) [4,6,2,3] $ chop 12 $ sound "fm:14"

tabby - A more literal weaving than the weave function, give number of threads per cycle and two patterns, and this function will weave them together using a plain (aka tabby) weave, with a simple over/under structure