;; this sound was generated with the following code. see profile.

.4 0 lfsaw 2 * [8 7.23] 0 lfsaw .25 * 9.667 + + exp2 0 sinosc .04 * .2 0 4 combn 29 1 fadeout "bubbles" >sfo

analog bubbles

;; this sound was generated with the following code. see profile.

\[
	#[-5 3 0 3 -3 5 2 5] 12 / = pattern 
	\octave clockRate pwmrate fltrate[
		((pattern octave + ohz cyc (clockRate 0 impulse) seq) 5c lag) 0 (pwmrate urand sinosc .4 * .5 +) lfpulse
		fltrate urand sinosc 14h * 2k + 1/15 rlpf .1 *  ] = f
	2 0 impulse .15 decay .3 lfnoise1 6k * 8k + 2X lfnoise0 7c * * ;; "snare"
	[1 8 .31 .2 f  0 2 .13 .11 f] + = g
	g .375 0 5 combn g reverse +
] = daze
daze 59 1 fadeout conormalize1 "daze" >sfo

Analog Daze

;; this sound was generated with the following code. see profile.

\[
	8 = dur
	\[[0 1 1 0][.2 dur 2 - 1] 1 lines hang] = env
	\[[1 1 0][dur 1c] 1 lines] = env2
	[0 3 5 7 10 12] = mode
	
	\[
		36 47 irand = root
		\[
			0 20 irand mode degkey root + midihz = f
			env pink f 2m resonz 1m * rpan2
		] 5 X +/
		\[
			0 10 irand mode degkey root + 36 + midihz = f
			.3 1.4 rand 0 1 rand impulse 5m 2 decay2 [f f 2 rand2 +] 0 sinosc +/ * rpan2 .1 *
		] 4 X +/
		$ env2 *
	] dur 1 4 ola 2 clump = [mix1 mix2]
	
	mix1 .3 .3 8 combn   
	mix1 .1 .3 rand .3 8 combn +
	mix1 .1 .3 rand .3 8 combn +
	mix1 reverse +
	mix2 5c 8 apverb6 +
] = pentapipes
pentapipes 119 1 fadeout conormalize1 "pentapipes" >sfo

Pentapipes

;; this sound was generated with the following code. see profile.

\[ 
	#[0 2 4 5 7 9 11 12] = major
	4 rand2 61 + = root
	\[
		16 irand2 = offset  
		offset 7 < \[ 1 3 irand ]\[[1 2 3 4 6] pick] if = r
		#[0 3 4 6] offset + muss major degkey root + midihz cyc = sequence
		r 0 impulse 3 * = trig
		sequence trig seq = f
	
		f 0 .1 .9 rand pulse  trig 4m 2 r / decay2 .1 * *  1k 10k rand lpf rpan2
	] 8 4 6 2 oltx   4c 4 apverb4
] ! 119 1 fadeout conormalize1 "hockettuplets" >sfo

Hockettuplets

;; this sound was generated with the following code. see profile.

\[
	\[
		24 96 irand midihz = f
		5h f / 1 & = a
		25.6 .1 20 xrxline = r
		12 = n
		\[ 1 n 1 + irand = g   f g * 0 sinosc  .9 1.1 rand r *  urand sinosc 8c -4c *+ 0 | * 2 g / *  rpan2] n X  +/ 
	] 12.8 6.4 6 2 oltx = x
	\[ x \[.1 .3 rand] 2X 0 8 combn] 5X +/ .3 *
] = warbulence
warbulence 115 5 fadeout conormalize .7 * "warbulence" >sfo

Warbulence

;; this sound was generated with the following code. see profile. no samples, just code.

\[
	0 = z   .1 = a   .2 = b   .4 = c
	[
		[c z z z z z z z] 2 ncyc 
		[c z z b z z b z c z z z b z b a] 2 ncyc
		[
			[c z z b z z b z c z b z c z b z] 2 ncyc
			[c z a b z a b z c z b z c a b a] 2 ncyc
			[c a a b z a b a c z b z c a b a] 2 ncyc
			[c a a b z a b a c z b z z b a a] 2 ncyc
			[c z z z z z z z] 2 ncyc
			[c z z b z z b z c z z z b z b a] 2 ncyc
		] picks $/
	] $/ Z = p
	
	[
		[c z b z a a a a b z b z z z b z] 2 ncyc 
		[c z z z z z z z b z b z z z c z] 2 ncyc 
		[c z z z a z z z b z b z a z c z] 2 ncyc
	] picks $/ Z = q
	
	9 0 impulse = clock
	
	;; bass drum
	80 0 sinosc  clock 16 0 pdiv 5m .6 decay2 * .8 *
	
	;; drum
	(p clock iseq 5m 5c decay2 white) (4 80 5h nrands) 1 (4 5c .5 nrands) klank distort .2 *
	
	;; metallic
	(q clock iseq 5m 5c decay2 white) (4 35h 40h nrands) 1 (4 5c .5 nrands) klank distort .1 *
	
	+ + aa 4c 3 apverb6 .6 * +
] = eastmed
eastmed 59 1 fadeout conormalize .7 * "east-med" >sfo

East - Med - 3

;; this sound was generated with the following code. see profile.

\[
	1 32 irand 80 * 0 1 rand .1 lfpulse 2k lpf1
	(.3 8 xrand [.7 1.3 rand 1] *) (2 0 1 nrands) sinosc +/ 4c * 0 |
	(6 24 xrand [.7 1.3 rand 1] *) (2 0 1 nrands) sinosc +/ abs * * rpan2 
	\x[x 2 1m 5c nrands 5c 1m 3 rand alpasn] 2 chain
] 4 4 12 2 oltx 59 1 fadeout conormalize .7 * "zizle-3" >sfo

zizle-3

;; this sound was generated with the following code. see profile.

\[
	12 = t
	\[
		(t 1 30 xrxline) 0 impulse = impulses
		(t 6h 8k xrxline) = freq
		(t 1c .5 xrxline) impulses * 1c .2 decay2 (impulses 5c .5 decay2 -.9 freq * * freq +) 0 sinosc * t rsweeppan2
	] t 2 - 1 8 2 oltx 5c 4 apverb4
] = choip
choip 55 5 fadeout conormalize .7 * "choip" >sfo

Choip

;; this sound was generated with the following code. see profile.

;;;; birdies
\[ 
	.7 coin \[
		((\[.4 .5 rand 0  .1 .9 rand lfpulse 4 7 rand *] 2X +/ 2 +) 0 lfsaw 
		(-1k -1.8k rand)(28h 52h rand) *+ 5c lag) 0 sinosc  (.2 .7 rand) 0 .4 lfpulse 2c * .3 lag * rpan2
	]\[0] if
] 7 4 4 2 oltx 2c 1 apverb4 

;;;; babbling brook
\[ \a b c d [ \[(1 brown)(1 brown a lpf b c *+) 3c rhpf d *] 2X] = f  (10 2h 4h 6m f) (14 4h 8h 10m f) +] ! 

+ 4 fadein 56 4 fadeout conormalize .7 * "nature" >sfo

Nature

;; this sound was generated with the following code. see profile.

\[ 80 = t \[ t 16 16384 xline 0 sinosc ^7 t hanenv * .1 * 2X] 8 1 2 ola 4c 2 apverb6 t T> 1 fadein] ! 
50 10 fadeout conormalize .7 * "endlessly-rising" >sfo

Endlessly Rising

;; this sound was generated with the following code. see profile.

\[
	.3 (1 12 irandz aa 1/ ba ?) 1 imps = t                         ;; lead's clock
	t  4c 2 decay2 = e 	                                           ;; lead's envelope 
	7 36 84 iwalkz midihz = p                                      ;; lead's pitches
	.2 lfnoise3 5h 1k biexp = b                                    ;; lead's brightness
	p t seq 2c lag [0 .2] +  0 .2 pulse  b .25 rlpf e .3 * *       ;; lead
	.2 #[.5 1] hangz 1 imps 4m .1 decay2 white +                 ;; snare
	4 1 1 imps 4m 1 decay2 24 midihz 0 sinosc * distort .7 * +     ;; bass drum
	aa 4c .5 apverb6 -.6 fade2                                     ;; reverb & wet/dry mix
] ! 59.5 .5 fadeout .7 * "chromatic beat subdivisions 2" >sfo

Chromatic Beat Subdivisions 2

;; this sound was generated with the following code. see profile.

\[
	;; create an algorhythmic rhythm pattern
	\[
		[ ;; choose one of the following patterns at random
			[2.0 0.0 2.0 0.0 1.0 0.0 1.0 1.0] 2 ncyc
			[2.0 0.0 1.0 0.0 1.0 0.0 1.0 0.0] 2 ncyc
			[2.0 0.0 1.0 1.0 1.0 1.0 1.0 0.0] 2 ncyc
			[2.0 0.3 0.3 1.0 0.3 0.3 1.0 0.3] 2 ncyc
			[2.0 0.0 0.0 1.0 0.0 0.0 0.0 0.0] 2 ncyc
			[2.0 0.0 0.0 0.0 1.0 0.0 0.0 0.0] 
			[2.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0] 
			[0.0 1.0 0.0 1.0 0.0 1.0 0.0 1.0] 2 ncyc
		
			[1.0 0.0 0.0 1.0 0.0 0.0 1.0 0.0] 2 ncyc
			[1.0 0.0 1.0 0.0 0.0 1.0 0.0 0.0] 2 ncyc
			[1.0 0.0 0.0 1.0 0.0 1.0 0.0 0.0] 2 ncyc
		
			[1.0 1.0 0.0 0.0 1.0 1.0 0.0 0.0] 2 ncyc
			[0.0 0.0 1.0 1.0 0.0 0.0 1.0 1.0] 2 ncyc
		
			[0.0 1.0 0.0 0.0 1.0 0.0 1.0 1.0] 2 ncyc
			[2.0 0.0 1.0 1.0 0.0 1.0 0.0 0.0] 2 ncyc
		
			[0.0 0.0 1.0 0.0 1.0 1.0 0.0 1.0] 2 ncyc
			[2.0 1.0 0.0 1.0 0.0 0.0 1.0 0.0] 2 ncyc
		
			[1.0 0.0 0.0 1.0 0.0 0.0 1.0 0.0 
			 0.0 1.0 0.0 0.0 1.0 0.0 1.0 0.0]
		] picks $/ Z 
	] = pat
	
	\[
		5 5.5 rand = rate
		rate 0 impulse = trig
		5 0 12 nrandz sort 12 add = notes
		2 0 7 iwalkz notes degkey 84 + midihz .3 coinz seq = melody
		20 = n
		\[ 
			0 38 irand notes degkey 24 + midihz = freq
			pat trig iseq (40 sqrt 6 * freq sqrt n * /) *  5m 6 rate / decay2 = env
			freq 0 sinosc 0 .5 rand lfnoise1 * env * rpan2
		] n X +/
		
		2m white (melody trig seq 5c lag) 4m .4 formlet
		+
	] 3X @ ! 25 2 .95 2 oltx 
] = bali_beats
bali_beats 120 T conormalize .7 * "bali beats" >sfo

Bali Beats

;; this sound was generated with the following code. see profile.

\[
	\[0 12 irand 0z 3 11 irand hanning $ .5 cons urandz 2 wavefill] 9 X = w
	\[512 -10 8 nirands 128 0 15 nirands $] inf X $/ = pchpat
	(pchpat aa [2 3 4 5] picks + 2ple [0 2 5 7 9 12] degkey \[1 12 xrand 0 sinosc .05 *] 2X + 12 / ohz flop @@) -6 .1 (brands @)(1 96 irands @) [2c .4 .6 2] w picks @ osc-syn @ +/  
	[.4 .8 .12 .16 .24 .32 .48 .64 .96 1.28 1.92 2.56 3.84 5.12] picks 1 2 ola aa 4c 6 apverb6 0 fade2
] = formants
formants 58 2 fadeout conormalize .7 * "new age formants" >sfo

New Age Formants

;; this sound was generated with the following code. see profile.

\[ 10 = d  7 = c  
	\[2 d / .2 dust .2m lag2 2h 32h rand .003 resonz] d X +/ = s
	(s .048 aa delayn) (c 0 .1 nrands lfnoise1 4c * 5c +) .1 15 combl +/ 5c 1 apverb4 .2 * s +
] = rsp
rsp 55 5 fadeout conormalize .7 * "time modulated delays" >sfo

Time Modulated Delays

;; this sound was generated with the following code. see profile.

\[
	\[
		.15 coin \[0] \[
			\[(1 100 xrand 0 urand lfpulse) (1 40 xrand 0 urand lfpulse 0 8k rand * 20 2k xrand +) *] 3X +/ = freq
			freq 0 .5 lfpulse 4m 8c xrand * .5 hpf2 0 3 rand lfnoise0 .8 * 4m lag pan2  .1 .35 rand aa 3 combl
		] if
	] 6 1 4 2 oltx
] = data-space
data-space 56 4 fadeout conormalize "data space" >sfo

Data Space 2

;; this sound was generated with the following code. see profile.

\[
	\a b [[1 0][a b]?] = c  ; make a boolean array
	[1 2 c 2 1 c 2 2 c 3 3 c 3 5 c 4 4 c 5 3 c 6 10 c] @ Z = beats
	\[
		8 0 impulse = i
		5c .5 rand = d
		(beats pick muss cyc i iseq) 4m d decay2 = env
		((0 3 rand lfnoise1 .8m * 2.2m + pink)(4 50 4k nlinrands)1(4 .2 12 nrands)klank randsign) (i 4m d decay2 0 5k rand * 1h 2h rand +) .2 rlpf  urand lfnoise1 pan2 env *
	] 12 3 6 2 oltx 4c 16 apverb4
] = tarmac
tarmac 56 4 fadeout conormalize .8 * "tarmac" >sfo

Tarmac

;; this sound was generated with the following code. see profile.

\[
	8 0 impulse = t
	#[1 0 .2 0 .4 0 .2 0] cyc t iseq 1m .5 decay2 80 0 sinosc * .5 *			;; bass drum
	2 0 .12 lfpulse 10k * .1 lag 1 dust2 2 0 sinosc 4h 4k *+ .2 resonz 5c * +	;; shaker
	\[
		\[[[5 1s 11 0s $ muss  1h 4k xrand 16 XZ] 4X] cyc .8 coins 1 cons keepWhile] inf X $/ $/ flop @ $/ = [beats freqs]
		freqs t seq 1m lag = freq
		beats t iseq 2m .3 decay2  .1 white freq 8m resonz * rpan2
	] 8X +/ 4c * +
] = claves
claves 82 8 fadeout conormalize .8 * "claves" >sfo

Claves

;; this sound was generated with the following code. see profile.

\[
	8 0 impulse = t
	#[1 0 .2 0 .4 0 .2 0] cyc t iseq 1m .7 decay2 60 0 sinosc * .7 *			;; bass drum
	2 0 .12 lfpulse 10k * .1 lag 1 dust2 2 0 sinosc 4h 4k *+ .2 resonz 5c * +	;; shaker
	\[
		\[[[5 1s 11 0s $ muss  1h 4k xrand 60 round 16 XZ] 4X] cyc .8 coins 1 cons keepWhile] inf X $/ $/ flop @ $/ = [beats freqs]
		freqs t seq 1m lag = freq
		beats t iseq 2m .3 decay2  .1 white * freq 8m resonz rpan2
	] 8X +/ 4c * +
] = harmonic-claves
harmonic-claves 82 8 fadeout conormalize .8 * "harmonic-claves" >sfo

Harmonic Claves 3

;; this sound was generated with the following code. see profile.

\[
	1 2h xmousex = clockRate
	clockRate 1/ = clockPeriod  
	clockRate 0 impulse = clock  
	1h 8k xmousey = centerFreq
	((.5 1.5 rands) clock seq) (centerFreq clock sah) * = freq
	(clock (1.2 clockPeriod *) decay) (.1 clockPeriod *) lag = amp
	(1 rand2s) clock seq = panpos
	(freq 0 sinosc) amp * panpos pan2 = in
	(in .3 0 2 combn) in + aa pr cr
] = liquidities

liquidities 59 1 fadeout "liquidities" record

Liquidities

;; this sound was generated with the following code. see profile.

\[1 8 irandz 4 N 0 6 irandz 8 N @ + $/ cyc] 3 X [40 80 160] .2 rand2z + * @ 1 [1.5 3 6]@ steps 0 saw [1.5 3 6] 0 impulse [3 1.5 .75] decay 8m lag * 3 1 nrand2s 5m  itd +/ aa .33 0 4 combn + .1 * 
59 1 fadeout conormalize .8 * "plectra dances" >sfo

Plectra Dances

;; this sound was generated with the following code. see profile.

((5 .8 -.1 nby .03 6 X $ coinz) ([1 .5][5 6] ?) * @) 1.1 ((5 1 2 ngrow) 16 6 X $ @) imps (5 1.6 .5 ngrow .9 6 X $ 3 *) decay 4m lag 1 11 to 64 * 0 sinosc ^3 * brands 11 N .7m itd +/ .3 * 
56 4 fadeout conormalize .8 * "jitter beats" >sfo

Jitter Beats

;; this sound was generated with the following code. see profile.

\[\[
	0 .3 rand lfnoise1 5 * 5/6 + ohz = freq
	(0 8 rand lfnoise1) (0 40 rand 0 sinosc) .1 * * 0 | (0 .5 rand freq * lfnoise3) * = amp
	(freq 0 sinosc) amp * (0 5 rand lfnoise1) pan2 = s
	\[ s \[.2 .5 rand] 2X 0 20 combn] 2X +/ s +
] 12 4 4 2 oltx] = deep-trip

deep-trip 56 4 fadeout "deep trip" record

Deep Trip

;; this sound was generated with the following code. see profile.

\[
	\i[invz 1 2 rand ^ .1 i ++ * coinz 1 cons * 32 48 irand N 0 2 wavefill] 8 X = w
	(-10 5 irands [0 2 5 7 9 12] degkey @ [-.03 0 .03] + 12 / ohz @) -6 .1 (-1 1 rands @) (1 48 irands @) [8m .1 .4 .8] w picks 16 ? @ osc-syn @ +/
	.25 1 2 ola 
	.375 aa 2 combn
] = triosc
triosc 56 4 fadeout conormalize .8 * "three detuned oscillators" >sfo

Three Detuned Oscillators

;; this sound was generated with the following code. see profile.

\[
	([[60 64 67 72 76][60 62 69 74 77][59 62 67 74 77][60 64 67 72 76]
	 [60 64 69 76 81][60 62 66 69 74][59 62 67 74 79][59 60 64 67 72]
	 [57 60 64 67 72][50 57 62 66 72][55 59 62 67 71][55 58 64 67 73]
	 [53 57 62 69 74][53 56 62 65 71][52 55 60 67 72][52 53 57 60 65]
	 [50 53 57 60 65][43 50 55 59 65][48 52 55 60 64][48 55 58 60 64]
	 [41 53 57 60 64][42 48 57 60 63][44 53 59 60 62][43 53 55 59 62]
	 [43 52 55 60 64][43 50 55 60 65][43 50 55 59 65][43 51 57 60 66]
	 [43 52 55 60 67][43 50 55 60 65][43 50 55 59 65][36 48 55 58 64]]
	 @ [0 2] 4 to $/ at @ 2 ncyc

	[[36 48 53 57  60 65 60 57  60 57 53 57  53 50 53 50]
	 [36 47 67 71  74 77 74 71  74 71 67 71  62 65 64 62] 
	  60 16 X] 

	 $ $/ midihz) = pitches

	.2 = dur
	pitches size 2 - dur * = susTime
	2 dur * = fadeTime
	pitches hang dur 1 steps 3c lag [0 1] + 0 saw susTime fadeTime fadeout @ 3 mum $ 1k lpf aa 5c 2 apverb6 + .2 *
] = bach-prelude
bach-prelude conormalize .8 * "bach prelude" >sfo

Bach Prelude

;; this sound was generated with the following code. see profile.

\[
	[0 2 4 5 7 9 11] = scale
	7 24 12 nby 3 - = octave
	6 = n

	\[[
		\[
			scale pick octave pick + midihz = f
			\[4 6 xrand 0 sinosc 8m * 1 + f * 2 .99 1.01 nrands * 0 saw] 8 X +/ .2 * 632 lpf1 = x
			.3 coin \[ x .3 .8 rand 0 sinosc .5 3 rand * 4 12 rand + f * .1 rlpf ]\[ x ] if
		]
		\[
			12 \[4 12 xrand [1 .9 1.1 rand] *] 2X un2 xline randsign = rates
			.25 .5 xrand randsign 0 tri 4 30 linrand *
			rates 0 lfsaw 2 16 rand * 40 120 rand + midihz 0 sinosc .02 * .15 .3 rand .3 4 combn
		]
	] pick !] 4 4 n 2 oltx aa [.5 .47] .5 7 combn reverse +
] ! 60 15 * 60 fadeout conormalize "EarlySpaceMusicLP_Side1" >sfo


Early Space Music LP Side 1

;; this sound was generated with the following code. see profile.

\[
	6 = n
	\[[
		\[ [0 0] ] ;; silence
		\[
			0 20 rand = a   30 5k rand = b   0 20 rand = c
			a 0 sinosc .1 * 1 + b * 0 sinosc c 0 sinosc 8c * 8c + * rpan2
		]
		\[
			[40 240 rand aa 1 rand2 +] = a
			a (2 1 nrand2s) + = c
			a 0 sinosc urand * 1 + (50 24h xrand) * 0 sinosc c 0 sinosc .13 * .13 + *
		]
		\[
			60 100 irand midihz = f 
			f [0 .2] + 0 sinosc [.15 .16] f * lfnoise3 .2 * *
		]
		\[
			24 96 irand midihz = f
			10 .1 20 xrxline = r
			\i[
				(f i * 0 sinosc) (.9 1.1 rand r * urand sinosc) .5 * -5c + 0 | * i ++ 1/ * rpan2
			] 12 X +/ (.2 1.2 xrand 0 .1 .2 rand lfpulse 2c lag2) *
		]
		\[
			2 1 -4 to ^ picks = durs
			(200 800 rands durs 1 steps) (durs .5 * durs 1 steps) lag = f
			7m pink f 2m resonz rpan2
		]
		\[
			(1c .3 rand lfnoise1) 60 * 70 + midihz = f
			f 0 sinosc
			(1c .5 rand f * lfnoise3) (1c 8 rand lfnoise1) (0 40 rand 0 sinosc) * 0 | * *
			(1c 5 rand lfnoise1) pan2
		] 
		\[
			15 = p
			((10 40 300 xrxline) 0 (.1 .9 rand) lfpulse 4m lag) ((1c 8 rand) lfnoise3) 0 | * 2m * = in
			\[in  p 1h 6k nxrands  1  p 2 6 nrands klank] 2X distort
		]
	] pick !] 2 4 n 2 oltx = out
	\[out 2 .1 .3 nrands .3 8 combn] 5X +/ .3 *
] !  60 15 * 60 fadeout conormalize "Early_Space_Music_LP_Side_2" >sfo


Early Space Music LP Side 2

I made this sound to soothe/mask tinnitus.

USE AT YOUR OWN RISK. Consult your audiologist. Listening to any sound at a high volume can damage your hearing.  I make no claims whatsoever about the suitability of this sound for any purpose.

I DISCLAIM LIABILITY FOR ANY DAMAGES and assume no responsibility or liability for any loss or damage suffered by any person as a result of the use or misuse of this sound.

This is meant to be heard on headphones at a relatively low volume. 

[spectrogram is here](http://i.imgur.com/EDTeoCe.png)

violet noise (high frequency) for broadband masking.
low pass filtered brownian noise to provide a focus away from the highs.
high frequency pings to confuse the frequency my mind hears.
mid range is open.

a note for anyone looking for miracles: This does not cure your tinnitus or even make it go away for very long afterwards if any. It only allows me, while I listen, to have some time where I don't hear my tinnitus. Recordings of rain on YouTube weren't doing it for me because I could still hear the ringing through the noise.

The pings range from around 9 kHz up to 20 kHz. My ringing is within this range. If your ringing is in a lower range, or your tinnitus is not a ringing tone, then this may not do anything for you.

Soothe / Mask Tinnitus

\[     6 rand2 66 + = root  1 16 to 8 / log2 12 * = harmonics
    \[ 
        [4 8] pick 0 8 nirandz 4 [0 0 0 0 1 2 -1 -2] npicks @ + $/  24 irand2 + harmonics degkey root + nnhz cyc = sequence
        [.125 .25 .5 1 2 4 8 16] [2 3 4 5 5 4 3 2] sumto1 wpick 0 impulse = trig
        (sequence trig seq 0 .15 lfnoise3 .96 * pulse .6 lfnoise3 4h 8k biexp .1 .4 rand rlpf2) (trig 1m 2c xrand .2 1.6 rand decay2) * 
        .3 lfnoise3 .1 * + .3 lfnoise3 .5 32 biexp * tanh 5h 8k xrand lpf1 5c * rpan2
    ] 8 8 8 2 oltx 
    [.5 .5] lfnoise3 3m * 3m flange 4c 8 apverb6 
    900 60 fadeout "8-voice-harmonic-sequences-2" >sfo
] !

8 - Voice - Harmonic - Sequences - 2

\[
72 = dur
\[
    [\[ .1 24 xrand] \[ dur .1 24 xrxline]] pick = rf
    [\f[f 2 nurands sinosc] \f[ f 2X lfnoise3]] pick = lfo1
    [\f [f urand sinosc] \f [f lfnoise3]] pick = lfo2
    [\f [f urand sinosc] \f [f lfnoise3]] pick = lfo3
    20 3k xrand [0 urand] muss + 2 nurands sinosc rf lfo1 biuni * dur .1 4 linrand .1 4 linrand xline * = pm
    20 3k xrand [0 urand] muss + pm sinosc rf lfo2 0 | * dur .01 .2 xrxline * (.05 .2 xrand 2 nurands 1k 16k xlfo) lpf = x
    .3 coin \[x aa 2 24 xrand 1/ = d d 0 4 32 rand d * combn urand fade2]\[x] if = y
    .3 coin \[.1 .5 xrand = f y [\[f urand sinosc] \[f lfnoise3]] pick ! 1m 2c rand * 2c flange]\[y] if
] dur .6 * dur .2 * 20 2 oltx 5c 8 apverb6 .2 * ] ! 72 T> 8 fadein 584 8 fadeout conormalize .8 * 0 >sfo

Sapf - 2019 - 0121 - 094226 - 0001

0 27 to @ 40 \i n [ 
	3 1.1 i ^ * = lf lf lfnoise3 (.08 .16 xrand urand sinosc 0 4 bilin) * i (.08 .16 xrand urand sinosc .3 2 bilin) * n + + nnhz urand sinosc 7 ^ 0 |
	lf lfnoise3 .75 * .25 + 0 | * 0 (.05 .2 xrand urand lfsaw) rot2 .95 i ^ * = a
	i 1.2 * 2X mum a 4 fadein $$
] ! +/ aa 4c 3 apverb6 3c 1 apverb6 (.0374 urand sinosc .9 *) fade2 .1 * 170 10 fadeout conormalize .85 * 0 >sfo

Sapf - 2019 - 0309 - 225408 - 0003

This account contains examples from a programming language for audio.
This language is still very experimental and is not available. 

WHAT

This programming language is called:

"A tool for the expression of sound as pure form."

It is an interpreter for a language for creating and transforming sound. The
language is mostly functional, stack based and uses postfix notation similar to
FORTH. It represents audio and control events using lazy, possibly infinite
sequences. It intends to do for lazy sequences what APL does for arrays: provide
very high level functions with pervasive automatic mapping, scanning, and
reduction operators. This makes for a language where short programs can achieve
results out of proportion to their size. Because nearly all of the programmer
accessible data types are immutable, the language can easily run multiple
threads without deadlock or corruption.

WHY

Other languages that inspired this one:
    APL, Joy[1], Haskell, Piccola[2], Nyquist[3], SuperCollider[4].

APL and FORTH (from which Joy derives) are both widely derided for being
write-only languages. Nevertheless, there has yet to be a language of such
concise expressive power as APL or its descendants. APL is powerful not because
of its bizarre symbols or syntax, but due to the way it automatically maps
operations over arrays and allows iterations at depth within arrays. This means
one almost never needs to write a loop or think about operations one-at-a-time.
Instead one can think about operations on whole structures.

Here is a great quote from Alan Perlis[5] on APL, which that also reflects my
interest in this way of programming :
"What attracted me, then, to APL was a feeling that perhaps through APL one
might begin to acquire some of the dimensions in programming that we revere in
natural language — some of the pleasures of composition; of saying things
elegantly; of being brief, poetic, artistic, that makes our natural languages
so precious to us."

The Joy language introduced concatenative functional programming. This generally
means a stack based virtual machine, and a program consisting of words which are
functions taking an input stack and returning an output stack. The natural
syntax that results is postfix. Over a very long time I have come to feel that
syntax gets in between me and the power in a language. Postfix is the least
syntax possible.

There are several reasons I like the concatenative style of programming:
    Function composition is concatenation. 
    Pipelining values through functions to get new values is the most natural
        idiom.
    Functions are applied from left to right instead of inside out. 
    Support for multiple return values comes for free. 
    No need for operator precedence. 
    Fewer delimiters are required: 
        Parentheses are not needed to control operator precedence.
        Semicolons are not needed to separate statements.
        Commas are not needed to separate arguments.


When I am programming interactively, I most often find myself in the situation
where I have a value and I want to transform it to something else. The thing to
do is apply a function with some parameters. With concatenative programming this
is very natural. You string along several words and get a new value.


REFERENCES    

1. http://www.kevinalbrecht.com/code/joy-mirror/joy.html

2. http://scg.unibe.ch/research/piccola

3. http://www.cs.cmu.edu/~music/nyquist/

4. http://supercollider.sourceforge.net

5. http://www.jsoftware.com/papers/perlis78.htm


sound as pure form

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