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SOUNDSHAPER: CDP REFERENCE

PICK PARTIALS


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SPECTRAL > FREQ/PITCH > PICK PARTIALS >

SUMMARY

Retain only the specified frequencies, if they are in the sound.  PICK locates the analysis channels which would contain the specified sets of partials, and adjusts the frequency data in those channels onto the specified frequencies. Other frequencies are supressed under the control of the clarity parameter.

MODES
 1. Fundamental and harmonics: retain a (possibly arbitrary) 'fundamental' frequency and its harmonics (F, 2F, 3F etc).
 2. Fundamental and octaves: retain 'fundamental' frequency and its octave transpositions (F, F*2, F*4 etc).
 3. Fundamental and odd harmonics: retain 'fundamental' frequency and odd-numbered harmonics of it (F, 3F, 5F, etc.).
 4. Fundamental and frequency step: partials are successive linear steps (each of freq step) from the 'fundamental' (F+n, F+2n, F+3n etc.).
 5. Shifted harmonics: 'fundamental' and each harmonic are shifted by added frequency (F+n, 2F+n, 3F+n etc.).

PARAMETERS
 fundamental  The fundamental frequency from which the partials are derived - may be an arbitrary value not present in the sound.
Range: 10-22050 Hz.
 freq step Frequency added in steps to 'fundamental' (Mode 4) or as linear shift (Mode 5).
Range: 10-22050 (though max. frequency of highest partial is also 22050.)
 [clarity]  extent to which data in other channels is suppressed.
Range: 0-1, default 1. T-V
 
NOTES
PICK is an important tool for tuning sounds. It is related to TUNE, but operates more specifically on single pitches and their related harmonic or inharmonic partials. Extracting and mixing a number of PICKs of different pitches can produce a stronger tuned chord than TUNE, and the separate PICKed signals can also be distributed spatially or treated independently (by transposition, filtering, delay etc.)

If the specified frequencies are not strong in the source sound, the return signal is likely to be weak, but you can help overcome this by transposing the sound beforehand or mixing a number of (possibly arbitary) transpositions.    Modes 2 and 3 are likely to produce a rather thin sound.


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