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SOUNDSHAPER: CDP REFERENCE

ACCUMULATE - sustain partials


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SUMMARY
Sustain each channel (frequency band), until louder data appears in that band. Control the rate of decay of the sustained sound and optionally glissando.
In the revised CDP7 version (superaccu), the resonances can also be tuned to the equal tempered scale, or to any given pitch template.

MODES
 1. Sustain: sustain each spectral band until louder data appears in that band.
CDP7 version (superaccu) only: 
 2. Tempered: force start of resonances on to tempered scale.
 3. Harmonic set: force start of resonances on to harmonic set.
 4. Harmonic field: force start of resonances on to harmonic field.
 
PARAMETERS

 [tuning] CDP7 superaccu only: Set of frequencies (plus octave transpositions: Mode 4) for tuning the starting resonance
        Range: 1-127 (MIDI pitch values; 60=Middle C; fractional values allowed).

 [decay]  Sustained channel data decays by this factor each second. High value is a faster decay.
Range: 0.001 to 1.0; default 1.0; T-V   (Suggested effective range: 0.001 to 0.5) 
 [glis]  Sustained channel data glissandos at glis octaves per second.
Range: -21.533204 to 21.533204, or less depending on PVOC analysis parameters, default 0; T-V
(
The min. and max. values are as above, though Soundshaper may show a wider range for a low PVOC points setting such as 512.)

OPTION
  • Gliss to Chan: re-assign glissandoing pitches to appropriate spectral channels

NOTES
The effect is perhaps clearer with staccato or rhythmic sounds, but even an apparently static sound can be surprisingly altered by the process.

Mode 1 has no tuning, and simply sustains each spectral band until louder data appears in that band. Decay optionally decays the sustained sound by the given amount, per second. Glis optionally glissandos the sustained bands up or down at glis octaves per second. There is an option to reassign these glissandoing frequencies to the appropriate spectral channels.

In Mode 2, the starting resonances are forced onto the tempered (chromatic) scale. This has a dramatic effect on speech. In Mode 3, they are forced onto a harmonic (i.e.pitch) set, specified in the datafile tuning, which is a list of MIDI pitch values. In Mode 4, those same values are interpreted as a harmonic field, meaning that they are duplicated in all available octaves.

© Ensemble Software and Composers Desktop Project 2014