Is defining struct inside n any different than having it defined before, e.g. d2 $ fast 2 $ struct "t(<2 5>,<9 7>)" $ n ((+ 12) $ irand 24) # sound "rash"? Asking because I can't understand completely.
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In this case I think it's exactly the same result. It changes the order in which things are done, i.e. in the your version the 'n' and 'rash' patterns are combined before the 'struct' is applied.. But in this case that doesn't make any difference.
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Is there a way to change the waveform starting point (with off maybe ?)?
Totally unrelated but could you explain what does the @ do ?
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Yes you can do that with the <~ or ~> operator e.g. (0.1 <~ sine)
Or the rotL or rotR functions which do the same e.g. (rotL 0.1 sine)
These functions are nice for time shifting in general, I'll do a lesson on that soon.
@ sets the relative 'size' of a step in the mininotation. So in "a@2 b@0.5", 'a' would be four times the length of 'b'.
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Ok perfect 
Ok it makes sense here :
"bd@0.5 bd@1.5" or "bd@0.5 bd@0.5 bd@0.5 bd@0.5"
but i really don't understand notes length here:
"bd@1 bd@0.5"
3 posts were split to a new topic: Trigger the cycle of a continuous function in time with a pattern?
Hi,
so I understand, that I can 'pick' out values from a continues pattern by kind of mapping these to events (the bd); or in other words: without events I will get not values because of the continues character of e. g. a sine wave (not sure if my description is semantically precise but I guess, I know what you were talking about).
Nevertheless I would very much be interested to mold a sustained sound (something like a drone) with a continues pattern by using a filter.
This is what I came up with until now but obviously it is not what I am after:
d1 $ note "[c, e, g, bf3]" # sound "supersaw" # hpf (slow "2" $ range 500 5000 sine)
Imagine a long drone sound (staying for several cycles) and a very slowly opening (or closing) filter (also over several cycles).
After serveral attempts and online research I would need a hint how to achieve that and would also be very grateful for that.
PS.: You can listen to an example of what I mean here (The Field, Yesterday and Today).
Having watched the video again (especially this bit) I came up with this:
d1 $ hpf (slow "8" $ segment 64 $ range 50 3000 sine)
# pan (slow "6" $ segment 24 $ range 0 0.75 sine)
# note "[c, e, g, bf3]"
# sound "supersaw"
# room 0.8
That is sounds very interesting but obviously rather different from what I originally intended.
So am I right that it is actually not possible in Tidal to apply a filter to a continuous sound in a continuous way?
Sonic Pi has a control statement which makes it possible to modify some parameter of a running synth or a filter in Supercollider over time such as changing the level, cutoff or resonance. So I was wondering whether there is something similar in Tidal?
Apologies for the fact that until now the only live coding environment I know was Sonic Pi so I still tend to look for similarities (especially if I want to achieve a certain effect I already know and like) - though I already appreciate some interesting differences which kind of make it hard to compare the two at all.
Hi @mbutz, yes unless you are doing midi with cc messages or using global effects, you can't really control an effect independently from a sound in superdirt. However this will be solved in the next version. There's a proof of concept working, but I'm still working on the interface for it.
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Ok. Sounds exiting!
Two things:
Can you paste an example with 'global effects'. I'd be very grateful.
And here is another sound study I came up with while searching for a solution (and trying to apply everything I have learned so far), which comes quite close to what I wanted. Like that cheesy ambient stuff 
d6 $ hpf (slow "8" $ segment 64 $ range 30 4000 sine)
# n ("e5" |+ "<'sus2'i 'sus4'i '7sus2'i '7sus4'i>")
# pan (slow "6" $ segment 24 $ range 0 0.75 sine)
# sound "supercomparator"
# room 0.9
# delay 0.5
# orbit 1
# gain 0.8
# legato 4
Thanks a lot!
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Ok. Read the docs, know now what global means in this context (my first thought and reason for asking was that I thought you can apply all effects locally and/or globally).
d1 $ hpf (slow "8 5 3" $ segment 48 $ range 50 3000 sine)
# pan (slow "6 3 9" $ segment 24 $ range 0 0.75 sine)
# note "[c, e, g, bf3]"
# sound "supersaw"
# room (range 0.1 1 $ slow 1.5 perlin)
# sz (range 0.4 1 $ slow 2 perlin)
# dry (range 0.4 5 $ slow 2.2 perlin)
Quick mod
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