#+TITLE: A curated overview of sndkitThis page features some of the various DSP algorithmsthat are a part of sndkit, with a few words by the authortalking about each one.I wish I could say less, but I didn't have enough time.The @!(ref "osc" "table lookup oscillator")!@ is probably agood early one to study and use. Some concepts are a littlebit tricky to understand, but it is a real wavetableoscillator. Not the best, but certainly not the worst.Oscillators, and really any DSP algorithm that can bepitched, are great DSP algorithms for musician to start withbecause they can leverage music theory (chords, scales,etc).For those interested in pitch oriented stuff like thehumble table-lookup oscillator, a table-lookup @!(ref"fmpair" "FM oscillator")!@ is a great next step. Thisalgorithm builds on the table-lookup oscillator to makethe simplest possible FM configuration (known as an FMpair). Learning how this conceptually works is a great wayto begin grokking FM synthesis.A good reverb in your sound arsenal is a must. While nottrivial to understand, the @!(ref "bigverb")!@ algorithm isa great reverb algorithm to have, especially for use inambient electronic music. The sound of this Reverb motivatedthe author to actually get serious about learninglower-level DSP audio programming. Everything that followsis a result of what you see here. As it turns out, Bigverbisn't terribly complicated as far as reverb algorithms go,but you'd never guess it listening to it. The modulationtechniques used in Bigverb add lot of unwanted DC bias, soit's highly suggested that this be paired with a @!(ref"dcblocker" "filter that can block DC")!@.Digital reverbs sound magical, but they are not magicalthemselves. Most of them use some form of feedback delay,in order to simulate reflections in a room coming from areal room. Delays themselves are very important conceptsin audio programming. The @!(ref "vardelay")!@ algorithmimplements a pretty typical delay line with variable delaytimes using interpolation. This interpolation causes audiblepitch shifting to occur, which forms the basis of chorus andflanging techniques.
#+TITLE: A curated overview of sndkit
This page features some of the various DSP algorithms
that are a part of sndkit, with a few words by the author
talking about each one.
I wish I could say less, but I didn't have enough time.
The @!(ref "osc" "table lookup oscillator")!@ is probably a
good early one to study and use. Some concepts are a little
bit tricky to understand, but it is a real wavetable
oscillator. Not the best, but certainly not the worst.
Oscillators, and really any DSP algorithm that can be
pitched, are great DSP algorithms for musician to start with
because they can leverage music theory (chords, scales,
etc).
For those interested in pitch oriented stuff like the
humble table-lookup oscillator, a table-lookup @!(ref
"fmpair" "FM oscillator")!@ is a great next step. This
algorithm builds on the table-lookup oscillator to make
the simplest possible FM configuration (known as an FM
pair). Learning how this conceptually works is a great way
to begin grokking FM synthesis.
A good reverb in your sound arsenal is a must. While not
trivial to understand, the @!(ref "bigverb")!@ algorithm is
a great reverb algorithm to have, especially for use in
ambient electronic music. The sound of this Reverb motivated
the author to actually get serious about learning
lower-level DSP audio programming. Everything that follows
is a result of what you see here. As it turns out, Bigverb
isn't terribly complicated as far as reverb algorithms go,
but you'd never guess it listening to it. The modulation
techniques used in Bigverb add lot of unwanted DC bias, so
it's highly suggested that this be paired with a @!(ref
"dcblocker" "filter that can block DC")!@.
Digital reverbs sound magical, but they are not magical
themselves. Most of them use some form of feedback delay,
in order to simulate reflections in a room coming from a
real room. Delays themselves are very important concepts
in audio programming. The @!(ref "vardelay")!@ algorithm
implements a pretty typical delay line with variable delay
times using interpolation. This interpolation causes audible
pitch shifting to occur, which forms the basis of chorus and
flanging techniques.