Event patterns and LFOs:
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Event patterns and LFOs
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summary of some LFO control strategies for event patterns

Description

Basic distinction: synths generated by an event pattern can be controlled directly by a LFO (synths wired or mapped to control buses) or on a per-event base. The latter can be achieved by language-only strategies or with help of control synths. For the sake of clarity most examples use the default instrument and pitch as control parameter.

1. Control by new values per event

 

Ex.1a: Functions of time

 

Ex.1b: Envelopes

 

Ex.1c: SharedOut / shared memory

SharedOut will be deprecated in future releases of SC and replaced by a shared memory mechanism (Tim Blechmann). SharedOut is at least included in version 3.4.4.

 

Ex.1d: HS / PHS and related

With HS server values can be used in PHS objects which mimic event patterns. This is achieved by an OSC demand and respond mechanism which introduces a small amount of additional latency. It works with local and internal server, see Guide to HS and HSpar for further details. Using the HS family with VarGui is discussed in HS with VarGui.

The HS / PHS approach would especially be of interest if control behaviour could more easily be defined by server means than in SC lang (e.g. specific and / or nested UGens) but data should also be further manipulated in the language (e.g. for some kind of combinatorial use such as harmonic or polyphonic calculations).

Methods of linked playing / stopping and resuming (stream + help synth) are supported as well as reference to an already playing HS by PHSuse. Various kinds of control synth control and synth value reference are possible with two or more help synths (see HSpar, PHSpar and PHSparUse).

 

Ex.1e: audio synths reading from a control bus, discretized

Derived from (2a), disadvantage: SynthDef must be adapted to control needs beforehand.

 

Ex.1f: Pseg

Pseg can work like a kind of meta pattern for LFO-like control, patterns are used to pass envelope data.

2. Continuous LFO control

 

Ex.2a: audio synths reading from a control bus

The disadvantage of this strategy (compared to 2b) is that synth definitions have to be written especially for control purposes. It must be known in advance which parameters should be controlled by another synth.

 

Ex.2b: audio synths mapped to a control bus

In general more practical than (2a), though by SC vs 3.4.4 reserved keys (e.g. \freq) can't be mapped to a bus, under these circumstances args would have to be renamed.