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Anglia Ruskin University

Creative Music Technology

Tutor: Julio d'Escrivn
01223 363271 ext 2978
Sound and Synthesis
Week 3
Lesson 2
In Class we will have covered the following topics:
Envelopes, stages and Envelope Generators. Noise ugens
CAVEAT (a latin word, yes, look it up!)
The following tutorial is only meant as an accompaniment to the class delivered by
the tutor as part of the course in basic sound and synthesis, MUB2004 delivered at
Anglia Ruskin University, Cambridge. It can still be of help to people who are not
taking the course, but it may not serve as a standalone tutorial to supercollider if
you are using it on its own. On the other hand if you have initiative and you use the
other supercollider tutorials available on the net, this can be a good starter into
Sound and Synthesis for newbies. It tries not to presuppose any computer
programming experience. It often explains the seemingly obvious (to advanced
users). If you are a newbie and not afraid to admit it, then WELCOME I wrote this for
us ;)
The word "envelope" comes from Old French, meaning to wrap
something up. In our time it has come to mean many things, from those
paper pockets you put letters in, to the maximum performance limits of
an aircraft. The thing is, how does it apply to sound? How can
something which brings to mind the covering or wrapping of an object
apply to intangible sound? Well, I'm afraid there is no way around it...
the more you think about it, the more it will become clear. The envelope
of a sound is almost a philosophical concept: the sonic phenomena
limited by it's physicality: its pitch, its timbral content, its duration, its
loudness. Hard work, hey? ok, here is a simpler concept, although one
harder to reconcile with the etymology ( origin! ) of the word; An
envelope of a sound is the change during the course of time of any
aspect of that sound. It may not refer us back to the everyday use of
the word, but at least we can have a clear concept.
Following this denition, the Amplitude envelope is the change in
volume of the sound while we can hear it. So if the volume of a sound
grows over time and then after reaching a certain volume it starts
getting quiet, until it dissapears, the amplitude envelope of that sound is
the story of this change. To tell this story, we use a simple drawing, one
that shows, in respect of the duration of the sound(time) how the
volume has changed. I guess if you drew the story of the sound told
above, you'd get a chinese hat ! (a triangle shape, right?).
How about if the sound grows from silence, reaches a peak and then
decays to a point where it remains for a while before dying off? To
describe the way the sound changed, we'd draw something like you
will nd in the illustration below:
the different stages of growth/decay of the sound we could call by
some commonsense names: attack, decay, sustain and release. And if
we can describe an envelope with just these four stages, then we can
call it an ADSR envelope after the initials of the word that describes
each stage..
This behaviour is a simple model of what happens in real life (which is
always far more complicated). If you are a bass player, for example
and do some Bass slapping techniques, you will know that the loudest
point of the sound comes very near the beginning (after you manage to
pull and release the string, but the loudest is when you release it and it
slaps against the ngerboard: releasing the string makes a quick sound
follwed by a loud slap), then, that the sound decays to a point where
we still hear it for a while before it starts to die away. Ok, so what use
is this to us? Well, up to now, we've been switching sounds ON and
OFF, almost literally; But this is clearly a limited way of playing a sound.
It would be nice if we could control how the sound appears and what
changes it goes through during it's existence, right?
Let's see how we can create envelopes in supercollider.
Do you remember the discussion on "nesting" in lesson1? (if you don't,
this is a really good time to open that le and go over them again,
otherwise you will understand nothing that follows :0 )
Well, we have already used a very simple kind of envelope, it was a
very simple story line... the value started high and got low over time...
still don't remember?
ok, here it is:
{,200,5), phase: 0, mul: 0.5, add:
We nested the XLine unit generator (don't you just love that name?) or
UGen, in the 'freq' slot, so that over 5 seconds, the frequency value
would drop from 2000Hz to 200Hz. In doing that, we created a
"frequency envelope" better known in the industry as a "pitch
Ok, so far so good (I can only hope !). But there must be lots of
different envelopes we could use, right? In the same way that
perhaps, when you were in primary school the rst thing you learn to
draw is a stright line ( or an XLine !), and then by putting lines together
you could make shapes such as a rectangle, a square or a triangle, and
then later on, you used these shapes to represent things in real life,
such as a shoe box, a TV screen or a chinese hat (!) , we will now
proceed to use a UGen that will allow us to connect lines together to
make our sounds behave in a more realistic fashion.
In order to look at envelope shapes and test them, we will use two
appropriately named messages: plot and test. The word "plot", if you
look it up on the internet in say, dictionary .com, has many related
meanings, one of them has to do with story lines which is appropriate to
our explanations, but the one that bes suits how we use this message is
"To represent graphically, as on a chart: plot a ship's course."
... and "test", which if you also look it up in the dictionary will have
many meanings but my favourite is extrapolated from those by looking
at the latin word "testis" which means someone who is a witness to the
truth of something.
So, armed with these two powerful tools, to draw and to witness, to
represent and to give account, to PLOT and to TEST, let's just do it !
Here is a new object, it is called Env.
At this point, have you noticed that all objects start with a capital letter?
i.e SinOsc, Env, XLine... and that all messages are written in lower
case? i.e. play, scope, ar, kr... this is actually a rule in Supercollider.
Ok, back to Env. It is an 'object', we can ask supercollider to give us
one of these objects by using a further message: 'new'.
Make sure both the internal and localhost server are running and then
evaluate this (highlight and press ENTER):[0,1, 0.3, 0.8, 0], [2, 3, 1, 4],'linear').test.plot;
Can you guess what is happening?
This much seems clear:
1. We are plotting or drawing something and we are being able to
listen (test) that drawing.
2. We have an new Env object with a bunch of numbers and the word
"linear" (from "line") !
Before we actually explain what these numbers are, why don't you
spend some time evaluating in turn the following lines of code[0.001, 1, 0.3, 0.8, 0.001], [2, 3, 1,
4],'exponential').test.plot;[0, 1, 0.3, 0.8, 0], [2, 3, 1, 4],'sine').test.plot;[0.001, 1, 0.3, 0.8, 0.001],[2,3,1,4],'welch').test.plot;[0, 1, 0.3, 0.8, 0], [2, 3, 1, 4],'step').test.plot;[0, 1, 0.3, 0.8, 0], [2, 3, 1, 4], -2).test.plot;[0, 1, 0.3, 0.8, 0], [2, 3, 1, 4], 2).test.plot;[0, 1, 0.3, 0.8, 0], [2, 3, 1, 4], [0, 3, -3, -1]).test.plot;
You must've come to some conclusions by now, right? plot draws the
graph, test plays a sinewave with its volume changing in the shape of
the graph, the green word or number outside the square brackets
affects the shape of the lines giving them degrees of 'curviness', and the
bunch of numbers are somehow the values for the peaks and troughs
of the graph and the distances between these... did you come to these
conclusions? If you didn't go ahead and evaluate again the lines of
code above. We'll wait for you right here !
Glad to have you back, ok, rst lets look at the bunch of numbers. They
are called "arrays" which is geek for "an ordered bunch of things". Of
key importance here is the fact that they are ordered. Later on you will
see that it's not just numbers you can have in an array, but for now,
let's limit ourselves to numbers, ordered numbers.
So, let's take it apart:[0.001, 1, 0.3, 0.8, 0.001], [2, 3, 1,
There are two arrays inside our[0.001, 1, 0.3, 0.8, 0.001], [2, 3, 1, 4],'linear').test.plot;
The rst array is made up by the amplitude peaks and troughs of the
envelope: starting at a volume level(amplitude) of 0.001, which is very
quite, the volume grows to 1, then decays to 0.3, then grows again to
0.8 and then decays back to 0.001.
The second array is made up of the times it takes to go between the
peaks and troughs described in the rst array so if we look closely this
is what happens:
Starting at a volume level(amplitude) of 0.001, the volume grows to 1
(which from the graph, we can tell is the loudest volume possible) over
the course of 2 seconds, then decays during 3 seconds to 0.3, then
grows again during 1 second to 0.8 and then decays back to 0.001
over the course of 4 seconds.
Notice that there are 5 values in the rst array and only 4 values in the
second. It is rather like making a hotel reservation for the holidays, if
you are staying 3 days, it means you will stay for 2 nights ! think
about it...
Run through the code examples above again and this time see how the
numbers make sense.
We can control the way the the volume grows by telling the Env object
what kind of line we want, compare these two:[0.001, 1, 0.3, 0.8, 0.001], [2, 3, 1,
and[0.001, 1, 0.3, 0.8, 0.001], [2, 3, 1, 4],'linear').test.plot;
in the code which says 'linear', the lines are straight. In the code which
says "exponential" the lines are curvy. Exponential comes from
exponential mathematical functions, but for us all it means is that the
curve is gradual to begin with and then gets really steep quite soon.
You can explore the other types of curves in the examples I gave you
before, it is good to know them as they will come in handy later on.
Notice that in our plots, the loudest volume is the value 1. The lowest
volume is the value 0.
Every peak or trough in the plot is called a "node". This is a good word
to know. We can designate nodes for two special roles:
1. looping: so that a section of our graph can be designated to repeat
2. releasing: so that we can stay at that value untill Env receives a
release command.
these last two possibilities we will examine later, for now let's make
some noises...
Here is a simple envelope, before we use it lest test and plot it:[0, 1, 0],[1.0, 1.0], 'sine').test.plot;
Ok, now, since we know all about nesting, lets nest it inside a SinOsc
ugen, to do this we need a "wrapper" to make the Env send values we
can use. This wrapper is EnvGen. It is short for "Envelope Generator"
or a thing that generates, creates and envelope. We give it the recipe
with our and then it proceeds to generate the envelope from
this recipe.
Here we go, instead of playing, we will scope it in order to be able to
see what is happening:
freq: 440,
phase: 0,
mul:[0, 1, 0],[1.0, 1.0], 'sine'))
we can make this look even clearer if we break up the lines like so:
freq: 440,
phase: 0,
mul:[0, 1, 0],[1.0, 1.0], 'sine')
before we go any further, I need you to try plugging this envelope into
Pulse and Saw. You will probably miss a coma or a parenthesis here
and there and supercollider won't run untill you type it perfectly, so this
is good practice for you and it will allow you to let the knowledge sink
in a bit more, so go ahead. Never be afraid to try the obvious.
Notice that EnvGen is being sent the message "kr". Try it with "ar", can
you hear any difference?
Also, did you see how it is quite convenient that the values that 'mul'
expects are between 0 and 1, because our EnvGen will only output
values between 0 and 1 anyway?
Ok, so how could we make this work for frequency? Could we just plug
our EnvGen into freq?
What range of values does frequency expect? (hint: what is the range
of human hearing?)
if you can answer these questions then you will understand why, in the
example below, we are multiplying our EnvGen by the number 500.
Two things: rst, yes we can multiply UGens by numbers in
Supercollider because UGens produce numbers anyway. Second, 500
is a number from the range of possible values that freq expects to have.
freq: 500*[0, 1, 0],[1.0, 1.0], 'sine')
phase: 0,
mul: 0.5
Let's do a brief recap. Envelopes are the change during the course of
time of any aspect of a sound. We create envelopes by dening these
changes with two arrays of numbers, the rst array tells us the values to
change to, and the second array lists the times it will take to change
between these values. A key word such as 'linear' or 'exponential' tells
us how fast values will change between points, These points are called
nodes. Envelopes are like recipes which must be carried out at audio or
control rate (ar or kr, but we can't seem to tell the difference when we
listen to them, actually). In order for these recipes to be carried out, a
ugen appropriately called EnvGen must receive the recipe. EnvGen
can be plugged in to 'mul' directly because mul expects numbers
between 0 and 1, and it so happens that this is what EnvGen does, it
generates numbers between 0 and 1, according to the Env recipe. Env
generator must be 'scaled' (rst time I use this word, but it is quite
important) which means, to be brought into an audible range if we want
to use it to create a pitch envelope. One way we can do this, is by
multiplying the EnvGen by a number between 20 and 20.000 because
then the result will be in the range of audible frequencies.
***factoid: in commercial synthesizers you will nd that envelopes
have maybe four or ve available stages at most, Attack-Decay-Sustain-
Release, or Attack-Hold-Decay-Sustain-Release, or some variation of
this, but in supercollider your envelopes have as many stages as you
For now, let's look at some more amplitude envelopes. In real life, there
are only two types of envelopes, those that when triggered have a set
duration and those whose duration we can control. The former are
called Fixed envelopes and the latter are called Sustained envelopes.
Think about this for a moment and see if you can nd some examples...
If you hit a snare drum, the sound will grow in volume so quickly that it
will sound instantaneous. But you have no control over how fast it dies
away. It just dissapears as fast as it came ! That would be a sharp-
attack fast-release amplitude envelope. Now, if you play a violin, the
sound will be sustained for as long as you bow... you are in control of
the 'release node' ! when you stop bowing, the sound stops. The snare
drum has a xed envelope. The violin has a sustained envelope,
meaning we can sustain it for as long as we want (or can !).
There are some preset envelopes that can be made with the Env object.
We used to make them from scratch, but the following xed
envelopes are also available, let's try them out:
Env.triangle(1, 1).test.plot;
and if we plug it in to mul:
freq: 440,
phase: 0,
Env.triangle(1, 1)
or in a Pulse wave... (can you remember which parameters Pulse
freq: 440,
width: 0.5,
Env.triangle(1, 1)
Change the values for the triangle preset and see what they do... if you
give up you can always check the help le (this is a good time to
remember how that's done!).
Here's another one:
Env.linen(1, 2, 3, 0.6, 'sine').test.plot;
try changing the values above to nd out what they do.
now plug it in to a sawtooth wave and you can observe the effect:
freq: 440,
Env.linen(1, 2, 1, 0.6, 'sine')
Here's yet another one:
Test it to see what the values do and then... you guessed it, plug it in!
freq: 440,
And another one:
Env.perc(0.05, 1, 1, -4).test.plot;
don't dismiss this last one too quickly, the help le shows some
interesting settings, but rst do nd out what they do for yourself.
to showcase this one, let's plug it into a new ugen... WhiteNoise.
Env.perc(0.05, 1, 1, -4)
isn't it ideal for checking out this envelope? White noise only wants to
know what amplitude you want so we plug in right there in 'mul' and it
works great...
I like the following settings:
Env.perc(0.5, 0.01, 1, 4)
And now for something completely different ! Well not that different, in
fact: Sustained envelopes. The thing here is that we need to send some
kind of signal to the envelope so it knows how long to sustain for !!
To make things simpler, to begin with, let's just use the 'test' message,
because it has a nice little feature that allows us to send a sustain time...
there are three of these sustained envelopes, i will give you the
parameters this time:
Here it is from the help le:
Env.adsr(attackTime, decayTime, sustainLevel, releaseTime, peakLevel,

Creates a new envelope specication which is shaped like
traditional analog attack-decay-sustain-release (adsr)
attackTime - the duration of the attack portion.
decayTime - the duration of the decay portion.
sustainLevel - the level of the sustain portion as a ratio of the
peak level.
releaseTime - the duration of the release portion.
peakLevel - the peak level of the envelope.
curve - the curvature of the envelope.

Env.adsr(0.02, 0.2, 0.25, 1, 1, -10).test(2).plot; //sustains for 2 secs
Env.adsr(0.001, 0.2, 0.25, 1, 1, -4).test(2).plot; //sustains for 2 secs

Env.adsr(0.001, 0.2, 0.25, 1, 1, -1).test(0.45).plot; //sustains for
0.45 secs
experiment with different values for the curve of the envelope as this
may seem like the least obvious of the values presented.
And now, let's do a plug-in:
Env.adsr(0.02, 0.2, 0.25, 1, 1,
-10),, 0.1)
Did you notice something different in the code? I happened to write
something new inside the EnvGen: the trigger.
Try moving the mouse from left to right and back again, accros the
center of the screen and see what happens. Now change the values of
the ADSR envelope and see what happens.
The trigger is the signal that EnvGen is waiting for to activate the
envelope. It is very simple. If the value at that slot is greater than zero,
then, the Envelope gets started. If the value falls to zero or below zero
then the release portion of the envelope gets underway and the
envelope dies out at whatever duration you set. Try it again. Remember
that until you turn off the the Ugen with a 'command+dot' the mouse
will keep triggering the sound ! -it can get on your nerves pretty quickly-
In the example above, the mouse's horizontal range is set to go
between -0.1 and 0.1, for this reason each time we cross the screen
from left to right, the mouse sends out a value above zero, a positive
value. Everytime the mouse crosses the center of the screen from right
to left, the mouse falls below zero. Consequently, mousing to the right
starts the sound and it sustains while you are on the right side and
when you mouse back to the left, the sound is stopped (but the
synthesizer keeps running!!! it's like you may not be playing it but it is
still switched on.)
Here is another envelope with sustain:
Env.asr(attackTime, sustainLevel, releaseTime, peakLevel, curve)

Creates a new envelope specication which is shaped like
traditional analog attack-sustain-release (asr) envelopes.
attackTime - the duration of the attack portion.
sustainLevel - the level of the sustain portion as a ratio of the
peak level.
releaseTime - the duration of the release portion.
peakLevel - the peak level of the envelope.
curve - the curvature of the envelope.

Env.asr(0.02, 0.5, 1, 1, -4).test(2).plot;
Env.asr(0.001, 0.5, 1, 1, -4).test(2).plot; // sharper attack
Env.asr(0.02, 0.5, 1, 1, 'linear').test(2).plot; // linear segments
let's plug it in and use the same mouse trigger thing:
Env.asr(0.02, 0.5, 1, 1, -4),, 0.1)
and... the last envelope, I priomise (for now at least):
Env.cutoff(releaseTime, level, curve)

Creates a new envelope specication which has no attack
segment. It simply sustains at the peak level until released.
Useful if you only need a fadeout, and more versatile than
releaseTime - the duration of the release portion.
level - the peak level of the envelope.
curve - the curvature of the envelope.
Env.cutoff(1, 1).test(2).plot;
Env.cutoff(1, 1, 4).test(2).plot;
Env.cutoff(1, 1, 'sine').test(2).plot;
and we can plug it in:
Env.cutoff(1, 1, 'sine'),
(-0.1, 0.1)
and now for some cool trigger ideas.
How about pluging in a ugen that sets off triggers on its own? Here's a
couple of candidates:
{, mul:0.5)}.play; //constant clicks are heard... at the rate
set by the rst number
{}.play; //the density of clicks per second is the only value
you give this one
ok, so electronica enthusiasts should be salivating by now ! ;)
let's plug this in to one of our examples from above: (but for variety I
will use another noise ugen:
(check out the help le for it, it's pretty basic). Also, and please note,
instead of audio rate or 'ar' which I used to test these triggering ugens
above, we should use 'kr', in this case it does make a difference. Follow
this rule: if you are using the ugen to make a sound wave directly then
use '.ar', if you are using the ugen to control or trigger something, then
use '.kr'.
Env.perc(0.05, 1, 1, -4),
and this one:
Env.perc(0.05, 1, 1, -4),
At the end of this section you should be
able to:
1. Explain in your own words the following concepts:
2. Create lines of code using the following UGens:
3. Competently use the following messages/methods:
( a method is the way that the messages we send to the ugens are
implemented, it is the activity they do when they receive a message)
Exercises for you to do:
1. Create a line of code for each ugen and method you have learnt.
2. try layering different soundwaves with different envelopes, see if you
can make some interesting sounds. Record anything that seems
promising, you may want to use it later...
3. set off more than one noise at different Impulse rates to get rhythmic
patterns going
Noise is a very interesting form of sound. It is what we call sound that is
apparently random, that we can nd no pattern in. Of course, we also
use it to mean sounds that are unpleasant to us, in fact maybe because
of their apparent randomness? Some people, when they don't like a
piece of music, they refer to it as noise... this is what a lot of
Beethoven's contemporaries thought of his 9th Symphony and it is what
some think of Ligeti's "Atmospheres". When sound makes no sense to
us, we call it noise. Perhaps precisely because of this, we must have a
closer look... (As perhaps the things we don't like tell us more about
ourselves than the things we like! )
In Supercollider there are a few unit generators that can be used to
create noise, here is one:
{ }.scope(1); //what does it sound like?
Think about it for a moment, what does it sound like? fast sandpaper
scraping? the surf part of a wave at the seaside? Your TV after
programming ends or tuned to a nonexistent channel?(actually the
latter may be an old-school experience exclusively, but nevermind! )
Have a look at the Stethoscope window, can you see any patterns?
Compare to this:
{}.scope; //a sawtoothwave.
Now that's more like it, no? A proper predictable soundwave that
draws a nice clear patter on the screen ! (just kidding !) the difference
is quite clear, the one called "white noise" is putting out a pattern which
never repeats in the same way, this means it is APERIODIC meaning
that it has no period or predictable repeating portion. Sounds like the
Sawtooth wave above are PERIODIC because they repeat in a
predictable way. Let's look at this white noise in greater detail:
{ 0.2) }.scope(1); //play it again just for a laugh!
ok, white noise is dened as a kind of noise (seemingly random
waveform) that generates all frequencies possible and all at the same
loudness or amplitude. No particular area of the frequency spectrum is
emphasized. Did I say Spectrum? This is an important word for
electronic musicians, I think the most general meaning is:
"A broad sequence or range of related qualities, ideas, or activities: the
whole spectrum of 20th-century thought." (the whole spectrum of my
wardrobe, for example?)
and in physics it means:
"The distribution of a characteristic of a physical system or
Easier: of all the available frequencies that the human ear can perceive
(the spectrum of audible frequencies) in "White Noise" we hear them
all at the same volume. There is no emphasis on low frequencies, for
example. It is a kind of democratic noise, don't you think so?
It is easy to remember how play it in supercollider because it only takes
two parameters, amplitude and offset or, to start speaking the lingo,
"mul" and "add".
The format for this UGen is:, add)
Remember the way supercollider looks at the parameters for UGens
(let's call them arguments from now on):
-if an argument appears like so, on its own, lonely like a dog:
{ }.scope(1);
Supercollider (SC to its friends) knows that it is the argument for 'mul'.
-if the arguments appear like so
{,0) }.scope(1);
SC knows that the rst value is for 'mul' and the second for 'add'
-if the arguments appear with keywords, like we explained in
StudyNotes-1, then it doesn't even matter what order we put them in,
as they have their neat little labels anyway !
{ 0.2, add: 0) }.scope(1);
Try this, change the add value above to the value of 1. Can you predict
what will happen in the scope? Now change it to -1, can you predict
what will happen now?
There are other avours of noise, which have colour associations ( I
don't know who invented the colour labels but would be interested if
anyone does...). Let's look at some:, add)
{ }.scope(1);
Again, the format is similar to WhiteNoise... so everything above
applies... the difference is that the higher frequencies are dampened or
attenuated(look up this word, you will need it!)
at the rate of 3db per octave... what? db? octave? this last sentence
merits an explanation.

rst 'db' is short for decibel. A decibel is a unit of sound intensity. From a
mathematical point of view it is said to be logarithmic, but to be quite
honest, this is not really important for a musician... HOWEVER you must
understand that it is not linear, i.e. a sound that is 2db louder than
another is not twice as loud! in fact in decibels, 3db means twice as
loud, or twice as quiet. Ah, did I mention it is a relative unit? so it is used
to measure the difference in intensity between two sounds, relative to
each other. As a muso, even if you are an electro-muso, that's as much
as you need to know, the rest you will nd out by experimenting with
ugens that take dbs or when observing the signal level on your
recording software or in your fantastically expensive audio
compressors :)) of course if you happen to have a scientic
background, knowing more won't hurt.
Second, an octave is the difference between a frequency and it's
doubled value above or below, so for example if you take the
frequency for the middle C of the piano, which is 261.62556530114
and you double that to 523.25113060083, this last resulting
frequency corresponds exactly to the next note C immediately above
middle C... If middle C is C3 then the octave above is C4. The concept
of the octave is used to measure accross the sound spectrum, so, if we
go up in octaves from the lowest sound we can hear which is 20hz, we
get this:
20, 40, 80, 160, 320, 640, 1280, 2560, 5120, 10240, 20480
that last frequency you will be able to hear only if you are a dog... :)
So, if we make noise that gets its frequencies attenuated by 3db every
octave, it follows that the high frequencies are going to end up very low
in volume. This is what denes PinkNoise and it is why it sounds soft or
mufed in comparison to WhiteNoise.

Another type of noise is:, add)
{ }.scope(1);
This one falls in power or intensity by 6db per octave, thanks to the
explanation above, you should now understand what that means.
and nally, for now at least:, add)
{ }.scope(1);
If you read the help le explanation, unless you are an audio engineer
you will be dumbfounded... All you need to know is that it is a bit
crackly and that The spectrum is emphasized towards lower
At the end of this section you should be
able to:
1. Explain in your own words the following concepts:
Noise, periodic, aperiodic.
2. Create lines of code using the following UGens:
WhiteNoise, PinkNoise, GreyNoise, BrownNoise.
3. Competently use the following messages/methods:
( a method is the way that the messages we send to the ugens are
implemented, it is the activity they do when they receive a message):
Exercises for you to do:
1. Get together with a friend and see if you can recoginze these
different noises without looking at the computer screen at all, you will
also be quizzed on this. A self respecting electronic musician knows his
noise !
2. Also, now that you know all these noise forms, why not use them to
practice your amplitude envelopes, as explained above:
a. Make 3 percussive noise envelopes with different types of noise
b. Using noise make an envelope which mimics the sound of the sea.
3. if you are really adventurous, then try plugin a noise ugen into the
freq part of a soundwave, remember the example where we did that
with the envelope and had to multiply by 500 to get some sound... just
explore that.