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| getting_started_vividshaper [2025/09/13 14:23] – [Delay effect] lars | getting_started_vividshaper [2026/09/09 21:00] (current) – [Filter functions] lars | ||
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| ===== The user interface ===== | ===== The user interface ===== | ||
| - | In VividShaper, most of the things you do to control the synthesizer will be done through coding, so VividShaper does not have any knobs. However, it does have a few buttons. On the left side, there' | + | VividShaper |
| + | |||
| + | * The old editor was replaced by a new editor with syntax highlighting | ||
| + | * The old dropdown menu for selecting patches was replaced by a patch browser | ||
| + | |||
| + | Some of the images seen here may be prior to v2.0, but you can tell if it is the new version if the code editor has syntax highlighting | ||
| {{: | {{: | ||
| - | Here is an explanation of all the menu alternatives: | + | ===== The patch browser ===== |
| - | * Load factory patches: This is where you load one of factory patches that come with VividShaper. As you can see, these are divided into a number | + | In VividShaper, |
| - | * Load user patches: Here you will find all your patches and load them, either locally or from iCloud. It has the same category system as for factory patches and we will go through | + | |
| - | * Delete user patches: This is where you delete your own patches. | + | |
| - | * Save to iCloud: This saves your patch to iCloud. | + | |
| - | * Save to Local: This saves your patch to the local filesystem. | + | |
| - | * Update factory patches: This is a new feature in v1.2. You can now update the factory patches with new patches from the Internet. The plan is to release new patches regularly on Fridays (" | + | |
| - | * Debug: This is only available in the developer version, so you won't see it. | + | |
| - | Next to the Patches | + | {{: |
| + | |||
| + | The browser is divided into Factory patches, Local patches, and iCloud patches. Factory contains all the patches that comes with VividShaper. These are updated once in a while and you can check for new updates by pressing the " | ||
| + | |||
| + | {{: | ||
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| + | When you select a patch, you will notice that the Patches button | ||
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| + | Each patch can belong to one or more categories. This is done by tagging the each patch by adding | ||
| + | |||
| + | {{: | ||
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| + | If you select Local or iCloud, you will be able to save your patches either locally on your device or in iCloud. Storing them in iCloud allows you to share patches between your devices and patches that are only in the cloud will have a cloud symbol next to them. You can of course organise your patches in categories too. Patches that you store in iCloud will have their own category system separate from locally stored patches and factory patches. If you don't add a tag, they will be found under the **Unlabelled** category. | ||
| + | |||
| + | The creation or deletion of categories is done automatically. As soon as you save a patch with a new hashtag, e.g. **Blip #8bit**, the organiser will create the category **#8bit** for you. Once you delete all patches with a given hashtag, the category will be removed. | ||
| + | |||
| + | ===== The code editor and waves view ===== | ||
| + | |||
| + | {{: | ||
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| + | In the code editor view, you will also find three other buttons | ||
| **New:** The New button will remove anything you have written and start from the simple patch you see in the image. | **New:** The New button will remove anything you have written and start from the simple patch you see in the image. | ||
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| **View**: The View button will change the view of the editor and the graph (only editor, only graph view, editor left to graph, editor below graph). | **View**: The View button will change the view of the editor and the graph (only editor, only graph view, editor left to graph, editor below graph). | ||
| - | **Help**: Finally, there is also a Help button. This button loads some text into the editor, telling which version you have and gives you a simple example. If you press help again, it will switch back to your original code that you worked on. | ||
| - | |||
| - | ===== The patch organiser ===== | ||
| - | |||
| - | In the first version of VividShaper, | ||
| - | |||
| - | You don't have to create or delete the categories. This is done automatically. As soon as you save a patch with a new hashtag, e.g. **Blip #8bit**, the organiser will create the category **#8bit** for you. Once you delete all patches with a given hashtag, the category will be removed. | ||
| ===== Our first patch: Triangle ===== | ===== Our first patch: Triangle ===== | ||
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| ===== Filter functions ===== | ===== Filter functions ===== | ||
| + | There are three different filters available in VividShaper: | ||
| - | The lowpass/ | + | These can either be applied on the actual waveform |
| <code Lua> | <code Lua> | ||
| - | wave[x] | + | filter1 |
| + | filter2 = VSBandpass(cutoffFreq, | ||
| + | filter3 = VSHighpass(cutoffFreq, | ||
| </ | </ | ||
| - | It can be quite difficult | + | If you want to apply the lowpass filter on the actual waveform, you will do this with the VSBiquad function: |
| <code Lua> | <code Lua> | ||
| - | biquadcoeff | + | wave[1] |
| - | biquadcoeff = VSBandpass(cutoffFreq, | + | |
| - | biquadcoeff = VSHighpass(cutoffFreq, | + | |
| </ | </ | ||
| - | A very important thing is that you need to provide each of these helper functions with the current note. If you play a note at a low frequency, you may actually play under the cutoffFreq so that no filter should be applied at all for a lowpass filter. That means the filter effect on the wave depends not only on the cutoff frequency and the resonance, but also on the playback frequency (i.e. the note). | + | Since this filter |
| - | A full example comes here: | + | The other method is to use the filter as an insert effect, processing the oscillator output continuously. In this case, the filter retains its state from one waveform cycle to the next. This is particularly important for resonance: instead of being baked into a single repeating waveform, the resonant response can build up and ring across successive cycles, producing a more dynamic filter response over time. |
| + | |||
| + | Say we want to apply the highpass-filter above as an insert on oscillator 1. Then we will write it like this: | ||
| + | |||
| + | <code Lua> | ||
| + | afilter[1] = filter3 | ||
| + | </ | ||
| + | |||
| + | You can even combine the two methods. Say you first filter the wave with a lowpass filter, then you apply the bandpass filter as an insert: | ||
| + | |||
| + | <code Lua> | ||
| + | filter1 = VSLowpass(cutoffFreq, | ||
| + | filter2 = VSBandpass(cutoffFreq, | ||
| + | wave[1] = VSBiquad(wave[1], | ||
| + | afilter[1] = filter2 | ||
| + | </ | ||
| + | |||
| + | You can even apply the same filter twice: | ||
| + | |||
| + | <code Lua> | ||
| + | filter1 = VSLowpass(cutoffFreq, | ||
| + | wave[1] = VSBiquad(wave[1], | ||
| + | afilter[1] = filter1 | ||
| + | </ | ||
| + | |||
| + | Both the waveform and the insert filters VividSynths are biquad filters. A biquad filter consists of five different coefficients and depending on how you set them you can create either a lowpass, bandpass, or a highpass filter. The different filter functions return an array with 11 values. The first five values are used by the waveform filter (i.e. VSBiquad()) and the second five values are used by the insert filter. The final value is just a value to turn on or off the insert filter (0 or 1). You don't really need to understand how this works since the filter functions calculate the biquad parameters for us. | ||
| + | |||
| + | In previous versions, you also needed to provide the current note to the filter, like this: | ||
| + | |||
| + | <code Lua> | ||
| + | filter1 = VSLowpass(cutoffFreq, | ||
| + | </ | ||
| + | |||
| + | From v2.0, you don't have to do that any longer, as notein is default. However, you can still provide a note value to obtain the effect of a filter that follows the note in terms of the cutoff-frequency: | ||
| + | |||
| + | |||
| + | <code Lua> | ||
| + | filter1 = VSLowpass(cutoffFreq, | ||
| + | </ | ||
| + | |||
| + | A full example comes here for how to apply the waveform filter: | ||
| <code Lua> | <code Lua> | ||
| -- Patch: Filter example | -- Patch: Filter example | ||
| wave[1] = VSSaw(1,0) | wave[1] = VSSaw(1,0) | ||
| - | vol[1] = VSADSRE(1, | + | vol[1] = VSADSRE(1, |
| - | biquadcoeff = VSLowpass(300, | + | biquadcoeff = VSLowpass(300, |
| wave[1] = VSBiquad(wave[1], | wave[1] = VSBiquad(wave[1], | ||
| </ | </ | ||
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| ===== Math functions ===== | ===== Math functions ===== | ||
| - | Besides | + | VividShaper allows you do apply all maths operators on the different waves: |
| + | |||
| + | **+ - * / %** | ||
| + | |||
| + | For instance, say you want to build an additive synth with sine waves, Then you can write: | ||
| + | |||
| + | < | ||
| + | wave[1] = 0.3*VSSin(1,0)+0.6*VSSin(2, | ||
| + | </ | ||
| + | |||
| + | You can also multiply two wave forms with each other, element-wise: | ||
| + | |||
| + | <code Lua> | ||
| + | wave[1] = VSSin(1, | ||
| + | </ | ||
| + | |||
| + | The modulus operator works with floats as well as integers: | ||
| + | |||
| + | <code Lua> | ||
| + | wave[1] = 2*(VSSin(1, | ||
| + | </ | ||
| + | |||
| + | {{: | ||
| + | |||
| + | If you divide one waveform with another waveform, you may get a division with zero. Although not mathematically correct, such divisions will always return zero for convenience. | ||
| + | |||
| + | Previous versions before v2.0 did have functions | ||
| <code Lua> | <code Lua> | ||
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| </ | </ | ||
| - | With these functions, you can either e.g. multiply a wave with a scalar value or a wave with another wave. These are very useful | + | An additive synth with the older functions |
| <code Lua> | <code Lua> | ||
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| reverb1[5] -- mixMode, where 0=insert and 1=send. | reverb1[5] -- mixMode, where 0=insert and 1=send. | ||
| reverb1[6] -- tailLatch, where 0=off and 1=on. | reverb1[6] -- tailLatch, where 0=off and 1=on. | ||
| - | reverb1[7] -- keep (0 - 1), how much of the stereo signal that should be kept in the reverb. | + | reverb1[7] -- keep (0 - 1). How much of the stereo signal that should be kept in the reverb. |
| - | reverb1[8] -- cross (0 - 1), how much of the stereo signal that should be leaked | + | reverb1[8] -- cross (0 - 1). How much of the stereo signal that should be leaked |
| + | reverb1[9] -- Stereo (0 - 1). If you want the final output from the reverb to be mono or stereo. | ||
| </ | </ | ||
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| To summarise, there are a number of alternative routes your sound can go through: | To summarise, there are a number of alternative routes your sound can go through: | ||
| - | * Main route: On by default | + | |
| - | * Alternative route: Off by default | + | |
| - | * Reverb route: Off by default. All sounds here go through reverb2 | + | |
| - | * Delay 1 route. Off by default | + | * Alternative route: Off by default |
| - | * Delay 2 route: Off by default | + | * Reverb route: Off by default. All sounds here go through reverb2 |
| + | * Delay 1 route. Off by default | ||
| + | * Delay 2 route: Off by default | ||
| All routes except the alternative routes also go through reverb1. Both reverbs are off by default. | All routes except the alternative routes also go through reverb1. Both reverbs are off by default. | ||