mvmfilter — A filter with pronounced resonance and controllable decay time.
Filters the incoming signal with the specified resonance frequency and decay time. This can be used to overlay a specific resonance on to an incoming sound or to model short bursts of sinusoids at a desired frequency. With a sufficiently long decay time it can be used as a sinusoidal oscillator.
aout -- filtered signal
ain -- signal to filter
xfreq -- resonant frequency of the filter
Warning | |
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The filter output can rapidly grow to very large output if the input signal correlates with the output. The worst case is that it grows by the magnitude of the input with every sample. To limit the growth so the filter does not explode, it is best to scale down any continuous input significantly. The required scale is related to the value of the decay-time tau so if you select a maximum decay-time you can calculate the required scaling: factor = 1 / $M_E / (sr*tau) |
xTau -- Decay time of the filter in seconds
The decay time is the time in seconds for filter to decay to 1/e
Here is an example of the mvmfilter opcode. It uses the file mvmfilter.csd.
Example 649. Example of the mvmfilter opcode.
See the sections Real-time Audio and Command Line Flags for more information on using command line flags.
<CsoundSynthesizer> <CsOptions> ; Select audio/midi flags here according to platform -odac ;;;real-time audio out ;-iadc ;;;uncomment -iadc if RT audio input is needed too ; For Non-realtime ouput leave only the line below: ; -o mvmfilter.wav -W ;;; for file output any platform </CsOptions> <CsInstruments> sr=44100 ksmps=32 0dbfs=1 nchnls=2 gaverb init 0 instr highQResonator ap mpulse .5, 0 a1 mvmfilter ap, p4, .25 out a1, a1 endin instr dustyResonator ap dust .1, 30 a1 mvmfilter ap, p4, .15 out a1, a1 endin instr oscillator ap mpulse .5, 0 kenv madsr .1, .2, .6, .4 a1 mvmfilter ap, p4, 1e6 a1 *= kenv out a1, a1 endin instr resonatorBank1 ap mpulse .5, 0 kampenv madsr .01, .2, .6, .4 kenv init 1 iDecayTime init 1 a1 mvmfilter ap, p4*1*kenv, iDecayTime a2 mvmfilter ap, p4*3*kenv, iDecayTime*.8 a3 mvmfilter ap, p4*5*kenv, iDecayTime*.4 a4 mvmfilter ap, p4*7*kenv, iDecayTime*.3 a5 mvmfilter ap, p4*9*kenv, iDecayTime*.2 a6 mvmfilter ap, p4*11*kenv, iDecayTime*.1 aout = (a1+a2+a3+a4+a5+a6) * kampenv * (.1667) gaverb += aout * .3 out aout, aout endin instr resonatorBank2 ap noise 0.005, 0 kampenv madsr .01, .2, .6, .4 kenv init 1 iDecayTime init 1 a1 mvmfilter ap, p4*1*kenv, iDecayTime a2 mvmfilter ap, p4*3*kenv, iDecayTime*.8 a3 mvmfilter ap, p4*5*kenv, iDecayTime*.5 a4 mvmfilter ap, p4*7*kenv, iDecayTime*.4 a5 mvmfilter ap, p4*9*kenv, iDecayTime*.3 a6 mvmfilter ap, p4*11*kenv, iDecayTime*.2 aout = (a1+a2+a3+a4+a5+a6) * kampenv * (.1667) gaverb += aout * .3 out aout, aout endin instr harmonicArp avco vco2 .01, 50 avco moogladder2 avco, 3000, .1 kenv linseg 1.3,p3,2 kampenv madsr 4, .1, 1, .4 iDecayTime init .02 a1 mvmfilter avco, p4*1*kenv, iDecayTime a2 mvmfilter avco, p4*2*kenv, iDecayTime a3 mvmfilter avco, p4*3*kenv, iDecayTime a4 mvmfilter avco, p4*4*kenv, iDecayTime a5 mvmfilter avco, p4*5*kenv, iDecayTime a6 mvmfilter avco, p4*6*kenv, iDecayTime aout = (a1+a2+a3+a4+a5+a6) * kampenv * .3 aout tanh aout gaverb += aout*.3 out aout, aout endin instr reverb adel init 0 ain = gaverb aleftout, arightout reverbsc ain, ain, .91, 12000 outs aleftout, arightout gaverb = 0 endin </CsInstruments> <CsScore> s ; mvmfilter is basically a damped resonator i "highQResonator" 0 1 220 ; putting some 'dust' through it i "dustyResonator" 2 2 300 ; with a large time-constant it becomes an oscillator i "oscillator" 4 3 440 s ; It works for a modal synthesis type use i "resonatorBank1" 0 5 50 i "resonatorBank1" 2 5 100 i "resonatorBank1" 4 5 150 s ; and some slightly more interesting effects... i "resonatorBank2" 0 5 50 i "resonatorBank2" 2 5 125 i "harmonicArp" 4 12 100 i "resonatorBank2" 7 5 50 i "resonatorBank2" 10 5 180 i "reverb" 0 21 </CsScore> </CsoundSynthesizer>
This filter is based on the work of Max Mathews and Julius O. Smith III. This filter was originally used by Max Mathews in an application which applied a bank of these filters to an incoming sound with live controls over the decay time and frequency parameters. This setup was the basis for collaborative live performance and was referred to as Phasor Filters.
Max Mathews and Julius O. Smith III, "Very High Q Parametrically WellBehaved Two Pole Filters"