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Audible Design Cross Reference

Trevor Wishart's Audible Design & the CDP Software

~ Links between the sound transformation processes described
and the CDP programs with which they were first realised ~

(Page numbers refer to the diagrams in Audible Design
Appendix 2 – Orpheus the Pantomime 1994 Edition)
1 7 9 11 12 17 18 19 20 21 22 23 24 25 26 27 28 29 31 32
34 34 35 36 36 38 40 40 40 41 41 42 42 42 43 43 44 45 45 45
46 46 47 47 47 48 48 48 51 51 51 51 51 52 52 52 52 53 54 54
55 55 56 56 57 -- 58 59 59 60 62 62 64 64 64 66 66 68 68 69
-- 69 70 71 72 72 73 --

Page Musical Process Sound Loom Menu
(CDP-Group Name)		 Sound Loom Submenu
(CDP-Program Function)		 Notes
1 Sequence Generation TABLE EDITOR CREATE Generate (timing) sequences. Use other menus
(e.g., MATHS) to modify the results
7 Hi-Pass Filter FILTER FIXED;  LOHI Cut below a given frequency
HILITE FILTER Hipass etc. options applied to analysis files
Lo-Pass Filter FILTER FIXED;  LOHI Cut above a given frequency
HILITE FILTER Lopass etc. options applied to analysis files
Band-Pass Filter FILTER FIXED Cut or boost above/below a given frequency
HILITE FILTER Hipass etc. options applied to analysis files
Notch Filter FILTER FIXED Boost or cut around a given frequency
HILITE FILTER Notch option applied to analysis files
Filter Bank FILTER USERBANK Define your own filter banks
HILITE GREQ; BAND
FILTER VARIBANK Define filter banks whose pitches
(and Q) change through time
FILTER BANK Various predefined filter banks, with time-variable Q
9 Phasing Filter FILTER PHASING Phase shift a sound
11 Phase Vocoder PVOC
FFT Analysis and Inverse FFT Resynthesis;
also see p.2
12 LPC – – Linear Predictive Coding
(this is available in Csound)
17 Formant preserving
spectral manipulations		 STRANGE INNER GLISSANDI This is STRANGE GLIS: glissandi
inside (changing) spectral envelope
PITCH:  HARMONY ALTERNATE HARMONICS This is ALTHARMS – delete alternate harmonics
OCTAVE SHIFT This is OCTMOVE – 8ve transpose without formant shift
CHORD (KEEP FORMANTS) This is CHORDF – transpositions
within original spectral envelope
REPITCH TRANSPOSE (KEEP FORMANTS) This is TRANSPOSEF – original spectral envelope is preserved
COMBINE ADD FORMANTS TO PITCH This is MAKE – generate spectrum
from pitch & formant data
18 Spectral shifting PITCH:  HARMONY PITCH SHIFT This is TRANSP – shift [actually a
transposition] (part of) the spectrum
ALTERNATE HARMONICS This is ALTHARMS – clarifies well-defined pitches
OCTAVE SHIFT This is TRANSP – the octave shift options
19 Spectral Stretching STRETCH SPECTRUM Stretch the frequencies in a spectrum
20 Spectral focusing FOCUS FOCUS These both work differently to the
process outlined in Audible Design
EXAGGERATE
FOLD-IN This is FOLD – 8ve transpose
spectral components into a specified range
Clean the spectrum SPEC CLEAN Remove noise from analysis file
21 Partial tracking – – This is available in SNDAN (...if SNDAN is still available)
22 Spectral freezing FOCUS FREEZE Hold spectral data at/for set times
HOLD Also see FOCUS STEP – hold for
regular time intervals (step-frame)
23 Spectral shaking BLUR CHORUS Randomises amplitudes and/or frqs of partials
24 Spectral Arpeggiation HILITE ARPEGGIATE Boost partials with a sweeping wave
25 Spectral tracing HILITE TRACERY Retain N loudest channels
26 Spectral blurring BLUR BLUR Time average the spectrum
SUPPRESS Different blurring processes
AVERAGE Average spectral energy over N channels
Add noise to the spectrum BLUR SCATTER Randomly thin out the spectrum
SPREAD spread peaks in spectrum
NOISE add noise to spectrum
27 Spectral Trace & Blur HILITE BLUR & TRACE Both average and reduce to N loudest
28 Spectral undulation STRANGE WAVER Harmonic-Inharmonic oscillations
– – Formant
29 Spectral splitting HILITE BANDS Define frequency bands and process individually
31 TIME STRETCH STRETCH TIME Extend duration without changing pitch
BRASSAGE BRASSAGE This is MODIFY BRASSAGE, Mode 2
in the time-domain program set
GRAIN TIMEWARP Stretches or compresses duration
but does not alter the grains themselves
SUBMIX TIMEWARP Alters the start times in a mix file
DISTORT REPEAT; DELETE Repeat or delete wavecycles
This is the DISTORT set
32 Spectral interpolation
(Morphing)		 MORPH MORPH general morph between diffeerent sounds
MORPH BRIDGE for unchanging sounds
GLIDE (not a true morph)
34 Vocoding FORMANTS VOCODE Impose formants from one sound onto another
FORMANTS EXTRACT; IMPOSE Keep and use extracted formants
COMBINE ADD FORMANTS TO PITCH This is COMBINE MAKE – formants
are added to pitch data
34 Spectral masking COMBINE WINDOWWISE MAXIMUM This is COMBINE MAX – keep maximum
in each corresponding window
COMBINE SUM; DIFFERENCE Sum or difference of two spectra
COMBINE MEAN; CROSS CHANNELS This is COMBINE MEAN and COMBINE CROSS – more unusual data combinations
35 Spectral interleaving COMBINE INTERLEAVE Alternate N windows from each file
36 Tapespeed variation PITCH:  SPEED PITCH This is MODIFY SPEED – tape transpose
36 Tape acceleration PITCH:  SPEED PITCH This is MODIFY SPEED, Mode 5
38 Harmoniser BRASSAGE BRASSAGE This is MODIFY BRASSAGE for pitchshift, etc.
40 Cutting SFEDIT numerous options
40 Zero cutting SFEDIT CUTOUT AT ZERO
CROSSING		 Cuts at zero crossing and keeps
40 Splicing SFEDIT JOIN Splice, with variable splice window length
41 Random cutting EXTEND SCRAMBLE Cuts and rejoins segments
41 Shredding RADICAL SHRED This is MODIFY RADICAL, Mode 2 – Repeated randomised segment jumbling
42 Looping EXTEND LOOP Step, looplength and searchfield
42 Iteration EXTEND ITERATE Repeat sound with subtle variations
42 Progressive looping EXTEND LOOP Parameter 'Advance between loops' > 0
43 Sound reversing RADICAL REVERSE This is MODIFY RADICAL, Mode 1 – Front to back
GRAIN REVERSE Reverse sound without reversing sound granules
SUBMIX SHUFFLE Reverse order of sounds only
TIMEWARP Reverse order of times, or both
sounds and times
43 Zigzagging EXTEND ZIGZAG Reads soundfile backwards and forwards
44 Brassage BRASSAGE Numerous options For all possibilities, use 'Full monty'
45 Multi-source brassage BRASSAGE SAUSAGE (Also see the Release 3 SAUSAGE)
45 Chorusing brassage BRASSAGE BRASSAGE Density > 2, small range of pitchshifts
a scatter of around 5 or more, and,
optionally, a very small searchrange
45 Spatialisation in brassage BRASSAGE BRASSAGE Use spatial position parameters
46 Mixing SUBMIX MIX MIX a list of soundfiles
SUBMIX MERGE; CROSSFADE Elementary mix of two sounds
46 In-betweening SUBMIX INBETWEENING Generate sounds aurally inbetween
two input sounds
47 Mix shuffling SUBMIX SHUFFLE Shuffle data in the mix file
47 Mix time-warping SUBMIX TIMEWARP Alterations to start times
47 Mix respatialising SUBMIX SPACEWARP Alter spatial placement in a mixfile
48 Octave Stacking – – Use MODIFY SPEED Transpose, followed by
SUBMIX SYNC or SYNCATTACK
48 Onset synchronise SUBMIX SYNC ATTACK Synchronises actual sound attacks
48 Waveset transpose DISTORT MULTIPLY; DIVIDE Multiply and Divide wavecycle 'frequencies'
51 Waveset reversal DISTORT REVERSE Reverse wavecycle(s in groups)
51 Waveset shaking – –
51 Waveset inversion DISTORT RESHAPE Invert half cycles; now called DISTORT REFORM
51 Waveset omission DISTORT OMIT Omit A out of every B wavecycles
51 Waveset shuffling DISTORT SHUFFLE Rearrange order of wavecycles
52 Waveset omission DISTORT OMIT Omit A out of every B wavecycles
52 Waveset harmonic distortion DISTORT HARMONIC Superimpose 'harmonics' onto wavecycles
52 Waveset substitution DISTORT RESHAPE Now called REFORM – modify with new shape
52 Waveset averaging DISTORT AVERAGE Average waveshape over N wavecycles
53 Waveset Enveloping DISTORT ENVEL Impose an envelope shape on wavecycle(s)
54 Waveset transfer DISTORT INTERACT Resize wavecycles in two sounds
54 Waveset interleave DISTORT INTERACT Interleave wavecycles from two sounds
55 Waveset timestretch DISTORT REPEAT Timestretch by repeating wavecycles
55 Waveset timeshrink DISTORT DELETE Time-contract by deleting wavecycles
56 Granular time-stretching GRAIN TIMEWARP Grain themselves are not altered
56 Granular reversal GRAIN REVERSE Order of grains is reversed, but not
the grains themselves
57 Granular reordering GRAIN REORDER Alter the order of the grains
-- Other grain alterations GRAIN REPITCH Change the pitch of the grains
GRAIN RERHYTHM Change the rhythm of the grains
GRAIN REMOTIF Change pitch and rhythm of grains
58 Envelope following ENVEL EXTRACT Extract an envelope shape from a soundfile
IMPOSE; REPLACE Extracts envelope, then applies to another sound
59 Enveloping ENVEL IMPOSE Impose a (new) envelope on a soundfile
59 Envelope substitution ENVEL REPLACE Replace existing envelope
60 Envelope transforming ENVEL LIMIT Limit – Mode 10 in REPLOT, RESHAPE and WARP
ENVEL GATE Gating – Mode 8 in REPLOT, RESHAPE and WARP
ENVEL FLATTEN Smoothing – Mode 7 in REPLOT, RESHAPE and WARP;
parameter > 1 does the opposite
ENVEL EXAGGERATE Smoothing – Mode 3 in REPLOT, RESHAPE and WARP;
parameter < 1; > 1 does the opposite
ENVEL INVERT Inversion – Mode 9 in REPLOT, RESHAPE and WARP
– – Compression: 'Limit' is similar to compression;
'Expand' does the opposite of compression
ENVEL CORRUGATE Corrugation – Mode 11 in REPLOT, RESHAPE and WARP
ENVEL EXPAND Expanding – Mode 12 in REPLOT, RESHAPE and WARP
ENVEL TIMESTRETCH Mode 6 in REPLOT, RESHAPE and WARP;
parameter < 1
62 Triggering ENVEL TRIGGER BURSTS Mode 13 in REPLOT, RESHAPE and WARP
62 Ducking ENVEL DUCKED Mode 13 in REPLOT, RESHAPE and WARP
64 Delay; echo REVERB: ECHO REVECHO This is MODIFY REVECHO, Mode 1
64 Comb filtering REVERB: ECHO REVECHO This is MODIFY REVECHO, Mode 1, with short delay times
64 Reverberation REVERB: ECHO REVECHO This is MODIFY REVECHO, Mode 3 (stadium – special
application only)
66 Vibrato PITCH: SPEED PITCH This is MODIFY SPEED, Mode 6; formants
are not preserved
66 Tremolo ENVEL TREMOLO Add tremolo to a sound
68 Create a texture TEXTURE SIMPLE (time varying) randomised textures on single
notes, harmonic fields or sets;
68 A texture of groups TEXTURE OF GROUPS a series of textures; also on harmonic
fields or sets
69 A texture of motifs TEXTURE OF MOTIFS The texture is built from specific figures
-- Other types of texture – – Textures may also be decorated (arbitrarily), ornamented
(specifically) or based on timed sequences (rhythms)
69 Wedging TEXTURE SIMPLE Min pitch falling and max pitch rising, preferably with
specific contours; also see WEDGE
70 Pitch tracking by
auto-correlation		 – –
71 Pitch tracking by
partial analysis		 REPITCH EXTRACT PITCH This is REPITCH GETPITCH; uses a simpler procedure,
based on a suggestion of Oyvind Hammer of NoTAM,
looking for harmonic correlations between the
principal peaks in the spectrum
72 Shepard tones STRANGE INNER GLISSANDO This is STRANGE GLIS, Mode 1
72 Sound plucking ENVEL PLUCK Create a pluck at the beginning of a sound
73 Granular reconstruction BRASSAGE BRASSAGE Comprehensive granular sound processing
-- Loudness adjustment LOUDNESS GAIN; DBGAIN MODIFY LOUDNESS, Modes 1 & 2:
Change loudness by
NORMALISE;
FORCE LEVEL (to) DBGAIN		 MODIFY LOUDNESS, Modes 3, 4 & 2:
Change loudness to
BALANCE MODIFY LOUDNESS, Mode 5:
Equalise level of two sounds
(or two channels of one sound)
SUBMIX ATTENUATE Reduce overall level in a mix file
ENVEL ATTENUATE Reduce overall level of an envelope;
Mode 4 in REPLOT, RESHAPE and WARP


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CDP circles logo   © 1994-2000 Trevor Wishart, York, England
  HTML version and CDP references clarified by A Endrich.
  Last Updated: 5 June 2001; Layout revised: 3 Aug. 2015