Difference between revisions of "Download Nyquist Plug-ins"

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{{Intro|This page lists all [http://audacityteam.org/help/nyquist Nyquist] plug-ins for Audacity that are available as separate downloads. Nyquist plug-ins support Windows, Mac and Linux/Unix. Click any "Downloads" link to jump to the downloads page for that plug-in category.|Unless otherwise indicated, all plug-ins are released under the terms of the [http://www.gnu.org/licenses/old-licenses/gpl-2.0.html GNU General Public License, version 2.] }}  
{{Intro|1=These are optional plug-in effects for Audacity. They are written in the {{external|[http://audacity.sourceforge.net/help/nyquist Nyquist programming language]}}. For installation instructions, see the main {{external|[http://audacity.sourceforge.net/download/plugins plug-ins page]}}.|2=Unless otherwise indicated, David R.Sky is the primary author of these plug-ins, and they are released under the terms of the {{external|[http://www.gnu.org/licenses/licenses.html#GPL GNU General Public License.]}}}}   
 
  
Instructions:  
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<div id="download"></div>
View
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== Downloading or viewing plug-ins ==
Download  
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====Download:====
Example
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* '''Left-click the download link''' to download the file in almost all web browsers. If this only displays the plug-in code, right-click the download link and select "Save Link As...", Save As..." or some similar "Save" or "Download" command. For further information, please see the documentation for your web browser.
 +
====View the plug-in code:====
 +
* '''Chrome:''' Download any plug-in once, then right-click over the download button at the bottom of the browser and choose "Always open this file type".
 +
* '''Firefox:''' Open Options or Preferences, then click the "General" section at the top. In the "Downloads" section, choose "Always ask me where to save files". When you click the download link, you now have an extra option to open the file in a chosen application instead of save it.
 +
* '''Internet Explorer or Microsoft Edge:''' Right-click the download link, choose any of the "Open" options then in the box that appears, click the "Open" button. In Edge, this also downloads the file.   
 +
* '''Safari:''' Downloaded plug-ins will automatically open in your default text editor after download. You can disable automatic open after download in Safari Preferences. 
  
==Audio Generators== 
 
  
'''<font color="#FF6600">Binaural Tones with Surf 2''' </font>(bitone2.ny) {{external|[http://audacity.sourceforge.net/nyquist/bitone2.ny View]}} | {{external|[http://audacity.sourceforge.net/nyquist/bitone2.zip Download]}} |  {{external|[http://audacity.sourceforge.net/nyquist/bitone21.mp3 MP3 example clip]}}
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<div id="install"></div>
  
A sinewave tone of one constant frequency is generated in the left channel of a stereo track, and a series of changing tones of slightly different frequencies are generated in the right. In addition, a stereo "surf" noise is generated. The differences between the left- and right-channel frequencies are termed "beat frequencies".
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== Installing plug-ins ==
{{Hint|1=According to published research, listening to these beat frequencies can cause the main brainwave frequency to "align" with the beat frequencies through a phenomenon called {{external|[http://web-us.com/thescience.htm entrainment]}}. The beat frequencies might result in different states of awareness, including increased relaxation or alertness, lucid dreaming or many other states. The four most familiar brainwave frequencies are:
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To install Nyquist plug-ins in Audacity, follow the instructions in the Audacity manual:
*Beta (14-21 Hz and higher)
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*'''[https://manual.audacityteam.org/man/installing_effect_generator_and_analyzer_plug_ins_on_windows.html#nyquist_install Windows instructions]'''
*Alpha (7-14 Hz)
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*'''[https://manual.audacityteam.org/man/installing_effect_generator_and_analyzer_plug_ins_on_mac_os_x.html#nyquist_install Mac instructions]'''  
*Theta (4-7 Hz)
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*'''[https://manual.audacityteam.org/man/installing_effect_generator_and_analyzer_plug_ins_on_linux.html#nyquist_install Linux instructions]'''
*Delta (0-4 Hz).
 
Research suggests there are many variations on these bands as well as additional brainwave frequencies, and that different states may be associated each.<br>
 
[[Image:Attention.png|18px]] By downloading, installing, using this plug-in and/or listening to the audio it generates, you explicitly accept full responsibility for any and all effects of its use, whether 'positive', 'negative', intentional, unintentional, or otherwise. This plug-in is meant for your own personal use and experimentation. No guarantee is offered that the user will experience any particular kind of effect from its use.}}
 
  
  
To use this plug-in, first open a new stereo track in Audacity (ALT, P, S in pre-1.3 versions or ALT, T, N, S in 1.3 and later versions). Open the Generate menu and select "Binaural Tones with Surf 2" from the drop-down menu.
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<div id="compatibility"></div>
  
Variables:
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==Compatibility==
 +
These plug-ins were contributed over many years, and many versions of Audacity. In the vast majority of cases, old plug-ins should continue to work in more recent versions of Audacity. More recent Nyquist effects may not install in old versions of Audacity or may not work correctly.
 +
{{advice|It is highly recommended to use the latest release version of Audacity, which is available via the [https://www.audacityteam.org/download/ Audacity website].}}
  
#'''Left channel tone frequency:''' from 50 Hz to 1000 Hz (default 100 Hz).
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<div id="list"></div>
#'''Beat frequency [Hz], duration [minutes], time to change to next beat frequency [minutes]:''' There are six of these edit fields in which you may enter up to three indicated values, separated by a space. The first of these edit fields has default values of 17.5 0.25 0.25. In the sixth field you may enter a final beat frequency and duration of that frequency. If you enter a only a single value into any of these fields, the duration of that beat frequency will be zero. If you leave any of these edit fields blank they will be ignored.
 
#'''Adjust total time:''' between 1 and 60 minutes [0=no adjustment].
 
#'''Fade-in and fade-out times:''' [seconds]. Sets the time for fading in and fading out the volume at the start and end of the generated audio.
 
#'''Stereo surf frequency:''' from 0 Hz to 2 Hz (default 0.1 Hz). If this setting is above zero, the surf sound will be panned back and forth somewhere between the left and right audio channels at the specified frequency, how far depending on the sixth variable:
 
#'''Stereo surf spread:''' [percent] between 0 and 100 percent (default 80%). The larger this number, the further the surf sound will move away from the center pan position (0% results in the surf sound remaining in the center).
 
#'''Tone to surf volume ratio:''' [percent] from 0 to 100 percent (default 70%). Adjusts the relative volume of the tones and surf sound.
 
  
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== List of available plug-ins ==
 +
{{Template:Advice|1='''Feedback and bug reports:'''
 +
* All new plug-ins added to this list are tested in the [https://www.audacityteam.org/download/ Audacity version] current at the time, but many of the older plug-ins are still in need of testing.
 +
** Please report any bugs to the Nyquist section of the [https://forum.audacityteam.org/viewforum.php?f=39 Audacity forum] so they may be fixed.
 +
** '''''Some Nyquist plug-ins are unsuitable for processing long audio tracks'''''. If a plug-in causes excessive memory use and causes Audacity to freeze or crash when used on long tracks, please let us know so that we can either limit the plug-in to short selections or add a note to the plug-in description so as to warn other users of the possibility.
 +
* Please also let us know which plug-ins you like and find useful as that will help us to develop the types of plug-ins that users want.}}
 +
<div id="generate"></div>
 +
===[[Nyquist_Generate_Plug-ins|Generate type plug-ins]]===
 +
These plug-ins usually appear towards the bottom of the ''Generate'' menu in Audacity. 
 +
=====Tone Generators=====
 +
# [[Nyquist_Generate_Plug-ins#Buzz_tone_generator|Buzz tone generator]]
 +
# [[Nyquist_Generate_Plug-ins#DTMF_Tones_(random)|DTMF Tones (random)]]
 +
# [[Nyquist_Generate_Plug-ins#DTMF_Tones|DTMF Tones]]
 +
# [[Nyquist_Generate_Plugins#HQ-Tone|HQ-Tone]]
 +
# [[Nyquist_Generate_Plug-ins#PWM|PWM]]
  
In addition to the tones, you can also generate stereo surf based on {{external|[http://en.wikipedia.org/wiki/Pink_noise pink noise]}}. This is a lower-frequency "rushing" sound compared with "hissing" white noise. 
+
=====Noise Generators=====
 +
# [[Nyquist_Generate_Plug-ins#Harmonic_Noise|Harmonic Noise]]
 +
=====Special Effects=====
 +
# [[Nyquist_Generate_Plug-ins#Binaural_Tones_with_Surf_2|Binaural Tones with Surf 2]]
 +
# [[Nyquist_Generate_Plug-ins#Surf-lfo|Surf-lfo]]
 +
# [[Nyquist_Generate_Plug-ins#Surf-oxy|Surf-oxy]]
 +
=====Instruments=====
 +
# [[Nyquist_Generate_Plug-ins#Fire_and_Explosion_sounds|Fire and Explosion sounds]]
 +
# [[Nyquist_Generate_Plug-ins#KLSTRBAS|KLSTRBAS]]
 +
# [[Nyquist_Generate_Plug-ins#Pluck_(Hz)|Pluck (Hz)]]
 +
# [[Nyquist_Generate_Plug-ins#Risset_Bell|Risset Bell]]
 +
=====Sequence Generators=====
 +
# [[Nyquist_Generate_Plug-ins#Rndtone|Rndtone]]
 +
# [[Nyquist_Generate_Plug-ins#SQ1_Generator_Sequencer|SQ1 Generator Sequencer]]
 +
=====Generator Utilities=====
 +
# [[Nyquist_Generate_Plug-ins#Nyquist_Generate_Prompt|Nyquist Generate Prompt]]
 +
# [[Nyquist_Generate_Plug-ins#Tuning_Fork|Tuning Fork]]
 +
# [[Nyquist_Generate_Plug-ins#Variable_Duration_Silence_Generator|Variable Duration Silence Generator]]
  
<hr>
 
  
'''<font color="#FF6600">Buzz tone generator''' </font>(buzz.ny) {{external|[http://audacity.sourceforge.net/nyquist/buzz.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/buzz.zip Download]}} |
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<hr>
{{external|[http://audacity.sourceforge.net/nyquist/buzz1.mp3 MP3 Example Clip]}} 
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<div id="effect"></div>
  
Generates a nasal-sounding tone composed of the base frequency combined with a number of harmonics. If for example you choose a frequency of 100 Hz with four harmonics, this plug-in will generate a tone comprised of 100, 200, 300 and 400 Hz, of equal amplitude. (The more harmonics, the more nasal and high-pitched the tone sounds). Although the original Nyquist code asks for a MIDI note number rather than a frequency, this plug-in allows you to choose between the frequency (e.g. 440 Hz) and the MIDI note number (57). (0=frequency, 1=MIDI note number.) You may choose the number of harmonics, tone and appended silence duration.
+
===[[Nyquist_Effect_Plug-ins|Effect type plug-ins]]===
 +
These plug-ins usually appear towards the bottom of the ''Effect'' menu in Audacity.  
 +
=====Amplify, Mix and Pan Effects=====
 +
# [[Nyquist_Effect_Plug-ins#Amplify_Left_or_Right_Channel|Amplify Left or Right Channel]]
 +
# [[Nyquist_Effect_Plug-ins#Bass_to_Center|Bass to Center]]
 +
# [[Nyquist_Effect_Plug-ins#Center_Pan_Remover|Center Pan Remover]]
 +
# [[Nyquist_Effect_Plug-ins#Channel_Mixer|Channel Mixer]]
 +
# [[Nyquist_Effect_Plug-ins#Cross_Fade_In|Cross Fade In]]
 +
# [[Nyquist_Effect_Plug-ins#Cross_Fade_Out|Cross Fade Out]]
 +
# [[Nyquist_Effect_Plug-ins#Fade_In_and_Out|Fade In and Out]]
 +
# [[Nyquist_Effect_Plug-ins#Panning|Panning]]
 +
# [[Nyquist_Effect_Plug-ins#Panning_(LFO)|Panning (LFO)]]
 +
# [[Nyquist_Effect_Plug-ins#Panning_(random)|Panning (random)]]
 +
# [[Nyquist_Effect_Plug-ins#Pseudo-Stereo|Pseudo-Stereo]]
 +
# [[Nyquist_Effect_Plug-ins#Ramp_Panning|Ramp Panning]]
 +
# [[Nyquist_Effect_Plug-ins#Repair_Channel|Repair Channel]]
 +
# [[Nyquist_Effect_Plug-ins#Stereo_Butterfly_(static)|Stereo Butterfly (static)]]
 +
# [[Nyquist_Effect_Plug-ins#Stereo_Butterfly_(LFO)|Stereo Butterfly (LFO)]]
 +
# [[Nyquist_Effect_Plug-ins#Stereo_Butterfly_(ramp)|Stereo Butterfly (ramp)]]
 +
# [[Nyquist_Effect_Plug-ins#Stereo_Widener|Stereo Widener]]
 +
=====Delay and Reverb=====
 +
# [[Nyquist_Effect_Plug-ins#Bouncing_Ball_Delay|Bouncing Ball Delay]]
 +
# [[Nyquist_Effect_Plug-ins#Bouncing_Ball_Delay_with_Panning|Bouncing Ball Delay with Panning]]
 +
# [[Nyquist_Effect_Plug-ins#Bouncing_Ball_Delay_with_Tone_Shift|Bouncing Ball Delay with Tone Shift]]
 +
# [[Nyquist_Effect_Plug-ins#Reverse_Bouncing_Ball_Delay|Reverse Bouncing Ball Delay]]
 +
# [[Nyquist_Effect_Plug-ins#Reverse_Bouncing_Ball_Delay_with_Tone_Shift|Reverse Bouncing Ball Delay with Tone Shift]]
 +
# [[Nyquist_Effect_Plug-ins#Chimes_delay|Chimes delay]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_BPM_with_Panning|Delay BPM with Panning]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_with_High_Pass_Filter|Delay with High-Pass Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_with_Low_Pass_filter|Delay with Low-Pass filter]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_with_Pitch_Change|Delay with Pitch Change]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_with_Stereo_Flip|Delay with Stereo Flip]]
 +
# [[Nyquist_Effect_Plug-ins#Delay_with_Tone_Shift|Delay with Tone Shift]]
 +
=====Distortion Effects=====
 +
# [[Nyquist_Effect_Plug-ins#Harmonic_Enhancer|Harmonic Enhancer]]
 +
# [[Nyquist_Effect_Plug-ins#Tape_Saturation_Limiter|Tape Saturation Limiter]]
 +
=====Dynamics Processing=====
 +
# [[Nyquist_Effect_Plug-ins#Broadcast_Limiter_II|Broadcast Limiter II]]
 +
# [[Nyquist_Effect_Plug-ins#Broadcast_Limiter_III|Broadcast Limiter III]]
 +
# [[Nyquist_Effect_Plug-ins#Hyperexp|Hyperexp]]
 +
# [[Nyquist_Effect_Plug-ins#LevelSpeech|LevelSpeech]]
 +
# [[Nyquist_Effect_Plug-ins#Limiter|Limiter]]
 +
# [[Nyquist_Effect_Plug-ins#Limiter_.282.29|Limiter (2)]]
 +
# [[Nyquist_Effect_Plug-ins#Noise_Gate|Noise Gate]]
 +
# [[Nyquist_Effect_Plug-ins#Pop_Mute|Pop Mute]]
 +
# [[Nyquist_Effect_Plug-ins#Text_Envelope|Text Envelope]]
 +
=====Filters=====
 +
# [[Nyquist_Effect_Plug-ins#Band_Stop_Filter|Band Stop Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Chebyshev_Type_I_Filter|Chebyshev Type I Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Classic_EQ|Classic EQ]]
 +
# [[Nyquist_Effect_Plug-ins#Comb_Filter|Comb Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Customizable_EQ|Customizable EQ]]
 +
# [[Nyquist_Effect_Plug-ins#Desk_EQ|Desk EQ]]
 +
# [[Nyquist_Effect_Plug-ins#High_Pass_Filter_with_q|High-Pass Filter with q]]
 +
# [[Nyquist_Effect_Plug-ins#High_Pass_Filter_(LFO)|High Pass Filter (LFO)]]
 +
# [[Nyquist_Effect_Plug-ins#Hum_Remover|Hum Remover]]
 +
# [[Nyquist_Effect_Plug-ins#Low_Pass_Filter_(LFO)|Low-Pass Filter (LFO)]]
 +
# [[Nyquist_Effect_Plug-ins#Low_Pass_Filter_with_Q|Low-Pass Filter with Q]]
 +
# [[Nyquist_Effect_Plug-ins#Multiband_EQ|Multiband EQ]]
 +
# [[Nyquist_Effect_Plug-ins#Mutron|Mutron]]
 +
# [[Nyquist_Effect_Plug-ins#Notch_Filter|Notch Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Parametric_EQ|Parametric EQ]]
 +
# [[Nyquist_Effect_Plug-ins#Random_Low_Pass_Filter|Random Low-Pass Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Resonant_Filter|Resonant Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Shelf Filter|Shelf Filter]]
 +
# [[Nyquist_Effect_Plug-ins#Ten_Band_EQ|Ten Band EQ]]
 +
=====Modulation Effects=====
 +
# [[Nyquist_Effect_Plug-ins#Dual_Tape_Decks|Dual Tape Decks]]
 +
# [[Nyquist_Effect_Plug-ins#Flanger_(linear)|Flanger (linear)]]
 +
# [[Nyquist_Effect_Plug-ins#Isochronic_modulator|Isochronic modulator]]
 +
# [[Nyquist_Effect_Plug-ins#Random_Amplitude_Modulation|Random Amplitude Modulation]]
 +
# [[Nyquist_Effect_Plug-ins#Random_Pitch_Modulation|Random Pitch Modulation]]
 +
# [[Nyquist_Effect_Plug-ins#Ring_modulator|Ring modulator]]
 +
# [[Nyquist_Effect_Plug-ins#Variable_Tremolo|Variable Tremolo]]
 +
# [[Nyquist_Effect_Plug-ins#Vibrato|Vibrato]]
  
<hr>
+
=====Sequencer Effects=====
 +
# [[Nyquist_Effect_Plug-ins#Audio_Selection_Sequencer_2|Audio Selection Sequencer 2]]
 +
=====Time, Pitch and Tempo=====
 +
# [[Nyquist_Effect_Plug-ins#Change_Speed_by_Semitones|Change Speed by Semitones]]
 +
# [[Nyquist_Effect_Plug-ins#Extract_Audio|Extract Audio]]
 +
# [[Nyquist_Effect_Plug-ins#Insert_Silence|Insert Silence]]
 +
# [[Nyquist_Effect_Plug-ins#Regular_interval_audio_splitter|Regular interval audio splitter]]
 +
# [[Nyquist_Effect_Plug-ins#Sliding_Speed_Change|Sliding Speed Change]]
 +
# [[Nyquist_Effect_Plug-ins#Tempo_Change|Tempo Change]]
 +
# [[Nyquist_Effect_Plug-ins#Time_Shifter|Time Shifter]]
 +
# [[Nyquist_Effect_Plug-ins#Trim_.2F_Extend|Trim / Extend]]
 +
# [[Nyquist_Effect_Plug-ins#Trim_Silence|Trim Silence]]
 +
# [[Nyquist_Effect_Plug-ins#Turntable_Warping_MS|Turntable Warping MS]]
  
<font color="#FF6600">'''Harmonic Noise''' </font>(harmonicnoise.ny) {{external|[http://audacity.sourceforge.net/nyquist/harmonicnoise.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/harmonicnoise.zip Download]}}
+
<hr>
 +
<div id="analyze"></div>
  
Author: Steven Jones. Generates sounds by mixing narrow bands of noise. The center frequency of each band is harmonically related to the fundamental and the amplitude decreases inversely with the harmonic number. Depending on the width of the band, the result can sound very noisy or distinctly tonal with a heavy chorusing effect.  
+
===[[Nyquist_Analyze_Plug-ins|Analyze type plug-ins]]===
 +
These plug-ins usually appear towards the bottom of the ''Analyze'' menu in Audacity.  
 +
=====All Analyze plug-ins=====
 +
#[[Nyquist_Analyze_Plug-ins#ACX Check|ACX Check]]
 +
#[[Nyquist_Analyze_Plug-ins#Peak_Finder_rft|Peak Finder rft]]
 +
#[[Nyquist_Analyze_Plug-ins#Pitch_Detect|Pitch Detect]]
 +
#[[Nyquist_Analyze_Plug-ins#Regular_Interval_Labels|Regular Interval Labels]]
 +
#[[Nyquist_Analyze_Plug-ins#Selection_Duration|Selection Duration]]
 +
#[[Nyquist_Analyze_Plug-ins#Silence_Finder|Silence Finder]]
  
Variables:
+
<hr>
 +
<div id="tools"></div>
  
#'''MIDI Note List:''' A list of MIDI notes to be produced. Each note must be separated by at least one space and punctuation is not allowed. Notes are specified either by an integer or by a Nyquist mnemonic.
+
===[[Nyquist_Tools_Plug-ins|Tools type plug-ins]]===
#'''Number of Harmonics:''' An integer between 1 and 32 which sets the number of partials for each note generated.
+
These plug-ins usually appear towards the bottom of the ''Tools'' menu in Audacity.  
#'''Duration:''' The tone's duration in seconds.
 
#'''Band Width:''' The noise band width in Hertz. Higher values result in a more noisy tone.
 
#'''Odd Harmonics Only:''' Choose between all harmonics or odd-numbered harmonics only.
 
  
  <hr>
 
  
<b>KLSTRBAS</b> |
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<div id="shipped"></div>
  
{{external|1=[http://audacity.sourceforge.net/nyquist/klstrbas.ny View klstrbas.ny]}} | {{external|1=[http://audacity.sourceforge.net/nyquist/klstrbas.zip Download klstrbas.zip]}}
+
==Nyquist plug-ins shipped with current Audacity ==
 +
The following Nyquist plug-ins are shipped with the [https://www.audacityteam.org/download/ current Audacity version]. You can read about what each plug-in does on [https://manual.audacityteam.org/man/index_of_effects_generators_and_analyzers.html Index of Effects, Generators and Analyzers] in the [https://manual.audacityteam.org Audacity Manual].
 +
{|width="60%"
 +
|-
 +
|width="50%" valign="top"|
 +
* adjustable-fade.ny
 +
* beat.ny
 +
* clipfix.ny
 +
* crossfadeclips.ny
 +
* crossfadetracks.ny
 +
* delay.ny
 +
* equalabel.ny
 +
* eq-xml-to-txt-converter.ny
 +
* highpass.ny
 +
* label-sounds.ny
 +
* limiter.ny
 +
* lowpass.ny
 +
* noisegate.ny
 +
* notch.ny
 +
* nyquist-plug-in-installer.ny
 +
|width="50%" valign="top"|
 +
* pluck.ny
 +
* rhythmtrack.ny
 +
* rissetdrum.ny
 +
* rms.ny
 +
* sample-data-export.ny
 +
* sample-data-import.ny
 +
* spectral-delete.ny
 +
* SpectralEditMulti.ny
 +
* SpectralEditParametricEQ.ny
 +
* SpectralEditShelves.ny
 +
* StudioFadeOut.ny
 +
* tremolo.ny
 +
* vocalrediso.ny
 +
* vocoder.ny 
 +
|}
  
 
 
  
klstrbas.ny<br>
+
<div id="authors"></div>
  
Author Steven Jones   02 October 2004<br>
+
== Plug-in authors ==
 +
These plug-ins have been contributed by:
 +
* Steve Daulton
 +
* Edgar Franke
 +
* Steven Jones
 +
* Paul Licameli
 +
* [http://www.garyallendj.com/davidsky/index.html David R.Sky]
 +
* Jvo Studer
 +
* Will McCown.
 +
{{Note|1=If you are a plug-in author, thanks for your contribution! Please register on the [https://forum.audacityteam.org Audacity Forum] then post your plug-in for review at https://forum.audacityteam.org/viewforum.php?f=42. Please see [https://forum.audacityteam.org/viewtopic.php?f=39&t=42106 Conventions for Nyquist Plug-ins] before posting.}}
  
This software released under the terms of the GNU public license
+
<div id="related"></div>
 +
== Related articles ==
 +
* [https://manual.audacityteam.org/man/nyquist.html Nyquist in the Audacity manual]
 +
* [https://manual.audacityteam.org/man/introduction_to_nyquist_and_lisp_programming.html Introduction to Audacity Nyquist]
 +
* [[Nyquist Plug-ins Reference]] 
 +
* Ask questions in the [https://forum.audacityteam.org/viewforum.php?f=39 Audacity Nyquist Forum]
 +
* Test-drive [https://forum.audacityteam.org/viewforum.php?f=42 new Nyquist Plug-ins] that are still under development
 +
* Other pages in our [[:Category:Plug-ins|Plug-ins category]]
  
 
+
==Links==
  
KLSTRBAS (for "cluster bass") generates several signals with a fixed frequency
+
[[Nyquist|'''|<''' Nyquist]]
  
ratio between them.  Apparently early Roland drum machines created
+
[[Category:Nyquist]][[Category:Plug-ins]]
 
 
cymbal sound in part by combining multiple square waves with non-integral
 
 
 
frequency ratios. The combined signal was then high passed filtered to
 
 
 
produce a very dense cluster of high frequency harmonics. The genesis of
 
 
 
KLSTRBAS was a failed attempt to create cymbal sounds  using this technique.
 
 
 
 
 
 
 
Parameters:
 
 
 
  <pre>key - MIDI key number
 
 
 
decay - Decay time in whole seconds
 
 
 
fdecay  - Fractional decay time in 1/100 second
 
 
 
density - The number of component waveforms is 4 times the density
 
 
 
          Higher densities produce a deeper flange effect but can
 
 
 
          also cause the sound to go out of tune.
 
 
 
detune  - Effects the relative frequencies. See below
 
 
 
flange  - Effects relative frequencies. See below
 
 
 
tab    - Wave form used as a basic component.
 
 
 
          0=sine, 1=tri, 2=square, 3=saw
 
 
 
          The wave tables are not band limited so aliasing may result
 
 
 
  if either key or n are too high.
 
 
 
</pre>
 
 
 
 
 
 
The frequency of each component is determined by the key number, the detune
 
 
 
and flange parameters. Specifically the nth component has a frequency of
 
 
 
p * (1 + d/100 + g)^n  where
 
 
 
p is the fundamental frequency determined by the key number
 
 
 
d is the detune amount 0 &lt;= d &lt;= 99 and g is derived by the flange parameter.
 
 
 
g = 1/(10^(4-f)) for flange value f
 
 
 
 
 
 
 
KLSTRBAS can also produce synth kick drum sounds by setting decay time to a
 
 
 
fraction of a second.
 
 
 
  <hr>
 
 
 
<b>Noise Band</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/nseband.ny View nseband.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/nseband.zip Download nseband.zip]}}
 
 
 
 
 
 
 
nseband<br>
 
 
 
Author Steven Jones  03 October 04<br>
 
 
 
This software is released under the terms of the GNU public license
 
 
 
 
 
 
 
nseband creates narrow band noise by ring modulating a sine wave with low-pass
 
 
 
filtered noise. The effect is similar to band-pass filtering noise.
 
 
 
  <hr>
 
 
 
<b>PWM</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/pwm.ny View pwm.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/pwm.zip Download pwm.zip]}}
 
 
 
 
 
 
 
PWM.ny 
 
 
 
  Author Steven Jones  07 October 2004<br>
 
 
 
This software is released under the terms if the GNU public license
 
 
 
  Generates a modulated pulse tone with the following parameters.<br>
 
 
 
key      - Tones frequency as MIDI key number 0...127<br>
 
 
 
cents    - Detune amount in cents 0...99<br>
 
 
 
Duration  - Tones duration in Milli seconds, 1...30000<br>
 
 
 
Mod Rate  - Number of modulation cycles, 1...100<br>
 
 
 
Mod Depth - Modulation depth as percent, -100...+100<br>
 
 
 
Mod Wave  - 0 = tri, 1 = up sawtooth, 2 = down sawtooth<br>
 
 
 
Width    - Fixed pulse width as percent. 0...100<br>
 
 
 
Amp      - Amplitude as percent 0...100<br>
 
 
 
  If the sum of the fixed width and the instantaneous modulation amount is<br>
 
 
 
outside the interval [0,99] The output will go to full off or full on.
 
 
 
  <hr>
 
 
 
<b>Random Touch Tones </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/randomtouchtones.ny View randomtouchtones.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randomtouchtones.zip Download randomtouchtones.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/randomtouchtones1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
Random Touch Tones (TM) mp3 samples:
 
 
 
 
 
 
 
1. 20 tones generated at default values;<br>
 
 
 
2. 40 tones generated at default values, silence duration 0
 
 
 
seconds;<br>
 
 
 
3. 5 tones generated at tone and silence duration 0.2 seconds,
 
 
 
twist value 0.
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Risset Bell</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/rbell.ny View rbell.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/rbell.zip Download rbell.zip]}}
 
 
 
 
 
 
 
Adapted by Steven Jones  03 October 2004
 
 
 
 
 
 
 
Simulates a realistic bell tone based on the pioneering work of Jean Claude
 
 
 
Risset. This plug in is an adaptation of a demonstration lisp file by Pedro
 
 
 
Jose Morales contained in the standard Nyquist distribution.  The only
 
 
 
parameters are MIDI key number and decay time.
 
 
 
  <hr>
 
 
 
<b>Risset Drum</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/risset.ny View risset.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/risset.zip Download risset.zip]}}
 
 
 
 
 
 
 
Risset Drum generator
 
 
 
 
 
 
 
The Risset-drum is based on the pioneering work of Jean Claude Risset in
 
 
 
the mid 1960's. It produces a realistic drum sound consisting of three
 
 
 
components; a sine wave ring-modulated by narrow band noise, an
 
 
 
enharmonic tone, and a relatively strong sine wave at the fundamental.
 
 
 
 
 
 
 
by Steven Jones
 
 
 
  <hr>
 
 
 
<b>RNDTONE</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/rndtone.ny View rndtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/rndtone.zip Download rndtone.zip]}}
 
 
 
 
 
 
 
rndtone generates random sine waves.<br>
 
 
 
Author Steven Jones,    01 October 2004
 
 
 
This software is released under the terms of the GNU public license.
 
 
 
 
 
 
 
The generated tones have random frequencies, attack and decay times.
 
 
 
 
 
 
 
Parameters:
 
 
 
  <pre>dur      - Total duration in seconds
 
 
 
n        - Number of tones generated.
 
 
 
floor    - Minimum frequency in Hertz
 
 
 
ceiling  - Maximum frequency in Hertz
 
 
 
</pre>
 
 
 
  <hr>
 
 
 
<b>SQ1</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/sq1.ny View sq1.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/sq1.zip Download sq1.zip]}}
 
 
 
 
 
 
 
sq1 "algorithmic sequencer number 1"<br>
 
 
 
Author Steven Jones, 30 September 2004<br>
 
 
 
This software is released under the terms of the GNU public license.
 
 
 
 
 
 
 
The sq1 sequencer generates complex sequences of tones by using the sum of
 
 
 
three square wave LFOs to frequency modulate two oscillators. The oscillators
 
 
 
output one of four waves (sine, tri, square and saw) and may be detuned
 
 
 
relative to each other. The wave tables are not band limited so aliasing
 
 
 
will result for sufficiently high frequencies.  There is also an overall three
 
 
 
stage amplitude envelope.
 
 
 
 
 
 
 
<pre>Parameters:
 
 
 
center - The unmodulated carrier frequency in Hertz.
 
 
 
detune - The frequency of oscillator 2 relative to oscillator 1
 
 
 
wave - The wave selector. 0=sine, 1=tri, 2=square, 3=saw
 
 
 
          Both oscillators produce the same wave-shape.
 
 
 
attack - Attack time in seconds.
 
 
 
sustain - Sustain time in seconds
 
 
 
decay  - Decay time in seconds
 
 
 
f1 - Frequency of LFO 1 in hertz
 
 
 
a1 - Amplitude of LFO 1
 
 
 
f2      - Frequency of LFO 2
 
 
 
a2      - Amplitude of LFO 2
 
 
 
f3 - Frequency of LFO 3
 
 
 
a3 - Amplitude of LFO 3
 
 
 
</pre>
 
 
 
 
 
 
The three LFOs are interchangeable. Note that the LFO amplitudes are
 
 
 
calibrated in Hertz indicating the corresponding frequency shift in the audio
 
 
 
oscillators.
 
 
 
  <hr>
 
 
 
<b>Surf </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/surf-lfo.ny View surf-lfo.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/surf-lfo.zip Download surf-lfo.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/surf-lfo1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
surf-lfo.ny: LFO Surf generator
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
LFO: low frequency oscillator. A signal whose frequency is
 
 
 
 
 
 
 
below the human ear's ability to hear as a tone,
 
 
 
 
 
 
 
generally below 20 cycles per second [Hertz or hz].
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Generates mono or stereo surf which sweeps between a lower and
 
 
 
 
 
 
 
upper filter frequency. Stereo surf also sweeps back-and-forth
 
 
 
 
 
 
 
somewhere between the left and right audio channels.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
To generate stereo surf, first open a blank stereo track [alt+p, s
 
 
 
 
 
 
 
in Audacity pre-1.3, alt+t, n, s in 1.3 and later]. Open the
 
 
 
 
 
 
 
generate menu. Click on 'Surf [LFO]'.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables with instructions:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Mono or stereo surf [1=mono 2=stereo]<br>
 
 
 
 
 
 
 
Mono surf is heard only in the center between the two speakers, or
 
 
 
 
 
 
 
in the middle of your head when wearing headphones. Stereo surf
 
 
 
 
 
 
 
also sweeps back-and-forth somewhere between the two audio
 
 
 
 
 
 
 
channels, depending on the next setting, Stereo Spread.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. Stereo spread [stereo only: percent]<br>
 
 
 
 
 
 
 
The larger this value, the more widely the stereo surf will move
 
 
 
 
 
 
 
back-and-forth between the left and right audio channels.
 
 
 
 
 
 
 
When this value is above zero, the deeper section of the surf sweep
 
 
 
 
 
 
 
will be heard more in the left channel; below zero, the deeper
 
 
 
 
 
 
 
section of the surf sweep will be heard mor in the right channel.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. Fade-in and fade-out times [seconds]<br>
 
 
 
 
 
 
 
To smoothly fade in and fade out the volume at the start and end of
 
 
 
 
 
 
 
the surf.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. Surf duration [minutes]<br>
 
 
 
 
 
 
 
Up to sixty minutes of LFO surf.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. Surf type [0=white noise 1=pink noise]<br>
 
 
 
 
 
 
 
White noise is more of a 'hissing' sound, whereas pink noise is a
 
 
 
 
 
 
 
lower 'rushing' sound.
 
 
 
 
 
 
 
Technically, white noise is 'equal energy per frequency', whereas
 
 
 
 
 
 
 
pink noise is 'equal energy per octave'.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
6. Surf sweep frequency [hz]<br>
 
 
 
 
 
 
 
Sets how slow or fast the surf sweeps between the lower and upper
 
 
 
 
 
 
 
filter frequencies, and the left and right channels [for stereo
 
 
 
 
 
 
 
surf].
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The next two variables<br>
 
 
 
 
 
 
 
7. Lower filter frequency [hz]<br>
 
 
 
 
 
 
 
8. Upper filter frequency [hz]<br>
 
 
 
 
 
 
 
determine how low and how high the lowpass filter sweeps the surf
 
 
 
 
 
 
 
noise.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
9. Bass frequency to boost [hz]<br>
 
 
 
 
 
 
 
You can boost [increase the volume of] frequencies of the surf
 
 
 
 
 
 
 
sound below this setting, to get a deeper-sounding surf. Somewhat
 
 
 
 
 
 
 
analogous to the bass knob on your stereo.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
10. Bass boost [db]<br>
 
 
 
 
 
 
 
Sets how much to boost the above bass frequency. 0db means no
 
 
 
 
 
 
 
boost, 6db means double the amplitude of the bass frequency, and so
 
 
 
 
 
 
 
on.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
<i>Note</i>
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you get an error message 'Nyquist returned too many audio
 
 
 
 
 
 
 
channels', this means you tried to generate stereo surf without
 
 
 
 
 
 
 
first having opened a blank stereo track in audacity. See
 
 
 
 
 
 
 
instructions at the start of this help file for instructions on how
 
 
 
 
 
 
 
to do this.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky, June 17, 2007.<br>
 
 
 
 
 
 
 
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
 
 
 
 
 
 
 
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
 
 
 
 
 
 
 
Thanks to Steven Jones for pink noise generator code.<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php 
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Surf </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/surf-oxy.ny View surf-oxy.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/surf-oxy.zip Download surf-oxy.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/surf-oxy1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
surf-oxy.ny: Jean-Michel Jarre's _Oxygene_ surf
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Jean-Michel Jarre put out a hauntingly beautiful electronic album
 
 
 
 
 
 
 
in 1976, <i>Oxygene</i>. One section of this album had a repeating
 
 
 
 
 
 
 
surf sound: a sweep from the right to the left audio channel, a
 
 
 
 
 
 
 
pause, and then a deep crash in the right channel. After another
 
 
 
 
 
 
 
pause, this cycle repeated many times. Very relaxing to listen to.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
This sound generator plug-in emulates that surf cycle, in either
 
 
 
 
 
 
 
mono or stereo.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
To generate stereo surf, first open a blank stereo track [alt+p, s
 
 
 
 
 
 
 
in Audacity pre-1.3, alt+t, n, s in 1.3 and later]. Open the
 
 
 
 
 
 
 
generate menu. Click on
 
 
 
 
 
 
 
'Surf [Oxygene]'.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Surf output [1=mono 2=stereo]<br>
 
 
 
 
 
 
 
To generate mono or stereo Oxygene surf.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. Stereo spread [stereo only - percent]<br>
 
 
 
 
 
 
 
If you've chosen to generate stereo Oxygene surf, this setting will
 
 
 
 
 
 
 
determine how widely the surf sweeps away from the center pan
 
 
 
 
 
 
 
position. From +100 percent to -100 percent. Positive values make
 
 
 
 
 
 
 
the sweep section go from the right to the left, with the crash in
 
 
 
 
 
 
 
the right. Negative values reverse this pattern.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. Fade-in and fade-out times [seconds]<br>
 
 
 
 
 
 
 
Time to fade in and fade out the volume at the start and end of the
 
 
 
 
 
 
 
surf, if you wish.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. Number of Oxygene surf cycles<br>
 
 
 
 
 
 
 
How many Oxygene surf cycles to generate.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. Surf type [0=white noise 1=pink noise]<br>
 
 
 
 
 
 
 
White noise is a higher-frequency 'hissing', whereas pink noise is
 
 
 
 
 
 
 
a lower-frequency 'rushing' sound.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The following two settings<br>
 
 
 
 
 
 
 
6. Sweep starting filter frequency [hz]<br>
 
 
 
 
 
 
 
7. Sweep ending filter frequency [hz]<br>
 
 
 
 
 
 
 
set the starting and ending frequencies for the lowpass filter to
 
 
 
 
 
 
 
sweep the sweep portion of Oxygene surf. [A lowpass filter allows
 
 
 
 
 
 
 
frequencies below a certain value to pass, while frequencies above
 
 
 
 
 
 
 
that value are attenuated, or reduced in volume.]
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
8. Sweep duration [seconds]<br>
 
 
 
 
 
 
 
This sets how slow or fast the sweep portion of Oxygene surf takes.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
9. Post-sweep silence duration [seconds]<br>
 
 
 
 
 
 
 
Duration of the silence after the sweep.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
10. Crash filter frequency [hz]<br>
 
 
 
 
 
 
 
The lowpass filter frequency of the crash.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
11. Crash bass frequency boost [db]<br>
 
 
 
 
 
 
 
How much to increase the volume of the above filter frequency and
 
 
 
 
 
 
 
below. 0db means no boost, 6db means double the amplitude of this
 
 
 
 
 
 
 
bass frequency, and so on.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
12. Crash duration [seconds]<br>
 
 
 
 
 
 
 
Duration of the crash.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
12. Post-crash silence duration [seconds]<br>
 
 
 
 
 
 
 
how much silence before the Oxygene surf cycle repeats.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Notes
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. If you get an error message 'Nyquist returned too many audio
 
 
 
 
 
 
 
channels', this means you tried to generate stereo surf without
 
 
 
 
 
 
 
having first opened a blank stereo track in Audacity. See
 
 
 
 
 
 
 
instructions at the top of this help file on how to do this.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. In the original _Oxygene_, reverb was applied to the surf,
 
 
 
 
 
 
 
giving it a more expansive sound and feeling. If you want to have
 
 
 
 
 
 
 
reverb added to Oxygene surf, you need to apply it yourself after
 
 
 
 
 
 
 
the surf sound has been generated. There's 'Gverb' already in the
 
 
 
 
 
 
 
Audacity effects menu, and many people use Anwida's free VST reverb
 
 
 
 
 
 
 
plug-in.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. Seagulls not included.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky, June 20, 2007.<br>
 
 
 
 
 
 
 
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
 
 
 
 
 
 
 
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
 
 
 
 
 
 
 
Thanks to Steven Jones for pink noise Nyquist code.<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php ]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Touch Tones </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/touchtone.ny View touchtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/touchtone.zip Download touchtone.zip]}}
 
 
 
 
 
 
 
Touch Tones (TM) generator - produce telephone tones in Audacity.
 
 
 
Length of tone and appended silence are definable, plus 'twist' - the
 
 
 
ratio of the high to low tones (in db). Twisted telephony jargon.
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Tuning Fork</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/tuningfork.ny View tuningfork.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/tuningfork.zip Download tuningfork.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/tuningfork1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
* tuningfork.ny: Tuning Fork
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
In preparing to do some vocal work with Audacity, I realized I
 
 
 
 
 
 
 
wanted a software tuning fork.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
After you have copied tuningfork.ny into your Audacity plug-ins
 
 
 
 
 
 
 
folder and restarted Audacity, Tuning Fork is in the generate menu.
 
 
 
 
 
 
 
After you click on it, a brief table outlining C notes and their
 
 
 
 
 
 
 
equivalent MIDI note numbers appears near the top of the screen.
 
 
 
 
 
 
 
C0=0 C1=12 C2=24 and so on.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Tone duration: up to 120 seconds.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Constant or fade out (0=constant 1=fade out, default=0 constant):
 
 
 
 
 
 
 
Choose whether you want the tone to remain at constant volume or
 
 
 
 
 
 
 
fade out during the duration.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MIDI or frequency (0=MIDI 1=frequency, default=0 MIDI):
 
 
 
 
 
 
 
Choose whether to generate a MIDI note number or frequency.
 
 
 
 
 
 
 
A440=MIDI note 69, middle C=60.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MIDI note: if you have chosen to generate a MIDI note, enter the
 
 
 
 
 
 
 
note number here. Note that you can use non-integers here (such as
 
 
 
 
 
 
 
60.75)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Frequency: If you have chosen to generate a frequency, enter the
 
 
 
 
 
 
 
frequency here.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Variable Duration Silence generator</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/varsilence.ny View varsilence.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/varsilence.zip Download varsilence.zip]}}
 
 
 
 
 
 
 
Variable Duration Silence Generator
 
 
 
 
 
 
 
This plug-in will generate any length of silence from 0.000 to
 
 
 
60.999 seconds. I wanted it so that I could add a specific length
 
 
 
of time after a sound (such as Steven Jones' Risset Drum), in order
 
 
 
to repeat the audio for a rhythmic effect.
 
 
 
 
 
 
 
there are two edit fields: one for thousandths (1/1000) of a second (0.000
 
 
 
to 0.999 seconds), and the other for whole seconds (0 to 60), for 0.000 to
 
 
 
60.999 seconds.
 
 
 
 
 
 
 
Copy the file into your audacity plug-ins folder. Next time you
 
 
 
open Audacity, Variable Duration Silence Generator will be in the
 
 
 
generate menu.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
 
 
 
 
<b>Ten band E Q</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/10bandeq.ny View 10bandeq.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/10bandeq.zip Download 10bandeq.zip]}}
 
 
 
 
 
 
 
Ten-band EQ. Select the band number (1 to 10) and select gain (-24 to +24 db).
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Classic EQ</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/15bandEQ.ny View 15bandEQ.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/15bandEQ.zip Download 15bandEQ.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/15bandEQ1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/15bandEQ2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; 
 
 
 
  <strong>15 Band Equalizer:</strong>
 
 
 
This effect can equalize more than one band at the same time
 
 
 
You have 15, to choose and you can manipulate whole of them moving their sliders 
 
 
 
There are also two clips: 
 
 
 
The first one is a phrase two times, with no changes and with the five lowest bands raised 10 db
 
 
 
The second one is the same but here the bands wich are raised 10 db are the highest five ones
 
 
 
 
 
 
 
by Josu Etxeberria and David Sky
 
 
 
  <hr>
 
 
 
<b>Amplify left or right channel</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/amplr.ny View amplr.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/amplr.zip Download amplr.zip]}}
 
 
 
 
 
 
 
* Amplify left or right channel
 
 
 
 
 
 
 
If you have digitized a cassette and want to amplify or attenuate
 
 
 
one channel only, this plug-in will do it.
 
 
 
 
 
 
 
Variables
 
 
 
 
 
 
 
1. Channel selector: 0=left channel, 1=right channel (default
 
 
 
0).<br>
 
 
 
2. Volume to amplify or attenuate the channel (default 0 db, no
 
 
 
change in volume).
 
 
 
 
 
 
 
Written specifically for people who use a screen reader, and people
 
 
 
who prefer to use the keyboard over a mouse.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Bouncing ball delay with panning</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/bbdelay.ny View bbdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/bbdelay.zip Download bbdelay.zip]}}
 
 
 
 
 
 
 
Bouncing ball delay with panning by David Sky
 
 
 
  <hr>
 
 
 
<b>Bouncing ball delay with Tone Shift</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/bbdtone.ny View bbdtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/bbdtone.zip Download bbdtone.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/bbdtone1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/bbdtone2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; 
 
 
 
* Bouncing Ball Delay with Tone Shift
 
 
 
 
 
 
 
Combines the bouncing Ball Delay and Delay with Tone Shift plug-
 
 
 
ins. A delay effect in which the echos get faster, like a bouncing
 
 
 
ball. And each echo is shifted in pitch by the designated amount
 
 
 
(semitone plus cents (hundredths of a semitone)).
 
 
 
 
 
 
 
The value for the decay amount (in db) for an increasing pitch can
 
 
 
be left at the default 0. However, with decreasing pitch, the
 
 
 
lengths of the delays increase over time, overlapping with each
 
 
 
other more and more. In this case, clipping can occur if the decay
 
 
 
value is left at 0.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Bouncing Ball Delay</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/bouncingball.ny View bouncingball.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/bouncingball.zip Download bouncingball.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/bouncingball1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp;  Bouncing
 
 
 
ball delay - Just like it sounds. Like a bouncing ball, the bounces get
 
 
 
faster and faster. Based on a delay plug-in. You can set time that the
 
 
 
bounces increase in sdpeed with each delay, the number of bounces, and
 
 
 
how much in db the sound decreases with each bounce.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Stereo Butterfly </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/butterflyramp.ny View butterflyramp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/butterflyramp.zip Download butterflyramp.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/butterflyramp1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
Third in the series of Stereo Butterfly plug-ins. As with the
 
 
 
previous two, 0 setting sounds like mono, +1 is regular stereo, -1
 
 
 
is left and right channels flipped with each other.
 
 
 
 
 
 
 
Select which value to start at and which value to finish at. The
 
 
 
default is from 0 to 1, which creates the effect of your stereo
 
 
 
audio starting out sounding mono, then gradually "widening" to full
 
 
 
stereo as the selection progresses.
 
 
 
 
 
 
 
Start and finish values may lie anywhere between -1 and +1.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Stereo Butterfly </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/butterflystatic.ny View butterflystatic.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/butterflystatic.zip Download butterflystatic.zip]}}
 
 
 
 
 
 
 
Stereo Butterfly (static)
 
 
 
 
 
 
 
The name comes from a butterfly's wings, which can be spread wide
 
 
 
(1, full stereo), closed (0, sounding mono), or somewhere in-
 
 
 
between. Stereo butterfly can even mirror the left and right
 
 
 
channels (-1... the butterfly's flipped!). And also anywhere
 
 
 
between the extremes from -1 to 1.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Center Pan Remover</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/centerpanremover.ny View centerpanremover.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/centerpanremover.zip Download centerpanremover.zip]}}
 
 
 
 
 
 
 
* Center pan Remover (often called Vocal Remover)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
For removing vocals which are panned to center, you can invert one
 
 
 
 
 
 
 
channel then pan both channels to center. Audio which is common to
 
 
 
 
 
 
 
both channels then disappears. this often removes other audio such
 
 
 
 
 
 
 
as drums, which are also often panned to center.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
With centerpanremover.ny, you can select whether to invert one
 
 
 
 
 
 
 
channel, or to invert a range of frequencies in one channel, before
 
 
 
 
 
 
 
panning both channels to center.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Select whether to invert one channel or a band of frequencies.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. If frequency band is selected, "remove frequencies above..." is
 
 
 
 
 
 
 
default 500Hz.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. If frequency band is selected, "remove frequencies below..." is
 
 
 
 
 
 
 
default 2000Hz.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
In other words, with the default settings, a two-octave range from
 
 
 
 
 
 
 
500Hz to 2000Hz (2 kilohertz) is removed.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Audio that isn't exactly panned to center is louder in one channel
 
 
 
 
 
 
 
than in the other. Thus, the further from the center pan position,
 
 
 
 
 
 
 
the louder that audio will be in the result.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky November 12, 2004<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Chimes delay </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay.ny View chimesdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay.zip Download chimesdelay.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay3.mp3 [MP3 Clip 3]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay4.mp3 [MP3 Clip 4]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay5.mp3 [MP3 Clip 5]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/chimesdelay6.mp3 [MP3 Clip 6]]}}&nbsp;&nbsp; 
 
 
 
* chimesdelay.ny: Chimes Delay
 
 
 
 
 
 
 
(Version 2 plug-in, works in Audacity 1.2.3 and later)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Adds random delay to your audio. You can specify the maximum
 
 
 
 
 
 
 
delay of the random delays (default 10 seconds, maximum 120
 
 
 
 
 
 
 
seconds) and how many random delays within that max delay time
 
 
 
 
 
 
 
(default 20 delays, maximum 100).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. Using the minimum volume field, you can specify the lowest
 
 
 
 
 
 
 
random volume that each random delay can have (default is 50
 
 
 
 
 
 
 
percent, range between 0 and 100 percent).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. This plug-in also randomly changes the pitch of each random
 
 
 
 
 
 
 
delay. You can specify a note list (which is where the name 'Chimes
 
 
 
 
 
 
 
Delay' comes from). the following is the default note list:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
-24 -12 -5 0 4 7 12 14 19
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Each number indicates how many semitones your audio could be pitch
 
 
 
 
 
 
 
shifted (along with matching tempo shift). For example, 0 indicates
 
 
 
 
 
 
 
no pitch shift, 12 indicates rise of 12 semitones (one octave), -5
 
 
 
 
 
 
 
indicates drop of 5 semitones (like going from C down to G below
 
 
 
 
 
 
 
that C note).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If the audio you have loaded into Audacity is C3, the above note
 
 
 
 
 
 
 
list would produce the following notes randomly:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
C1 C2 G2 C3 E3 G3 C4 D4 G4
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A distinctly major-sounding scale.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you have a note list specified, this plug-in will randomly
 
 
 
 
 
 
 
choose from that list of notes for pitch and tempo shifting of each
 
 
 
 
 
 
 
random delay.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. However, you can delete this note list, in which case a list of
 
 
 
 
 
 
 
notes will be generated between a lower and upper number. The
 
 
 
 
 
 
 
default values of these two numbers are -12 semitones (decrease of
 
 
 
 
 
 
 
1 octave) and +24 semitones (increase of 2 octaves), respectively.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. If your audio is in stereo, each random delay with random volume
 
 
 
 
 
 
 
and random pitch change will also be randomly panned anywhere
 
 
 
 
 
 
 
between left and right. (It is best that your audio is first panned
 
 
 
 
 
 
 
to center before applying Chimes Delay.)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
6. Additional notes:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Adding a bit of regular delay and/or other effects before applying
 
 
 
 
 
 
 
Chimes Delay results in a richer sound.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you want a particular note (from the note list) to be repeated
 
 
 
 
 
 
 
more often, you can enter it more than once in the list.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you simply want your audio randomly delayed with no multiple
 
 
 
 
 
 
 
pitch changes, either enter just one number into the note list, or
 
 
 
 
 
 
 
enter the same number into the min and max notes fields.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you want no random amplitude changes, make the amplitude field
 
 
 
 
 
 
 
100 percent.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
It is possible that total length of your resulting audio will be
 
 
 
 
 
 
 
max delay _plus_ duration of your original audio. This may be still
 
 
 
 
 
 
 
longer if the final delay(s) is/are decreased in pitch (resulting
 
 
 
 
 
 
 
in a reduced tempo).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If your original audio is non-musical, chimesdelay.ny will not make
 
 
 
 
 
 
 
it musical.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Many thanks to Steven Jones! - his cool 'Harmonic Noise' generator
 
 
 
 
 
 
 
plug-in is the source for Nyquist code to handle a string-input
 
 
 
 
 
 
 
note list. Thanks Steven for additional list help as well.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky, January 30, 2005<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Comb filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/comb.ny View comb.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/comb.zip Download comb.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/comb1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
The name 'comb' filter comes from how it acts on the audio spectrum
 
 
 
of what it's applied to: it looks like a comb with the teeth
 
 
 
pointing up. For example, if you set the comb frequency at 1000 Hz,
 
 
 
the comb filter emphasizes 1000 Hz as well as 2000, 3000, 4000 and
 
 
 
so on Hz. This particular plug-in produces an 'airy' effect, which
 
 
 
is more pronounced the higher the comb decay value is set, and
 
 
 
resonance is increasingly produced as well.
 
 
 
 
 
 
 
A comb filter can be produced using flanger-like settings on a
 
 
 
delay effect, but this filter does not use a delay to get the
 
 
 
result, so it does sound somewhat different.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Customizable EQ</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/customeq.ny View customeq.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/customeq.zip Download customeq.zip]}}
 
 
 
 
 
 
 
Custom EQ: Select center frequency of band, width of band in octaves (0.1 to 5.0), and apply gain (-24 to +24 db).
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Dual Tape Decks</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/dualtapedecks.ny View dualtapedecks.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/dualtapedecks.zip Download dualtapedecks.zip]}}
 
 
 
 
 
 
 
Dual Tape Decks effect
 
 
 
 
 
 
 
This plug-in was written to duplicate an effect I heard in the late
 
 
 
1970s: I recorded then played identical audio on two mono tape
 
 
 
decks. There was an amazing "whooshing" effect as one tape deck
 
 
 
"caught up" with and passed what the other tape deck was playing.
 
 
 
This plug-in allows the "whooshing" to go back and forth. Different
 
 
 
effects are made using mono-sounding vs. "true" stereo audio.
 
 
 
 
 
 
 
You can adjust the phase difference between the two decks (180
 
 
 
degrees is the default), the starting phase of the effect (0
 
 
 
degrees is the default), LFO frequency and depth of the effect. The
 
 
 
larger depth is, the more pronounced the pitch and tempo shift
 
 
 
become until there is a noticeable warble.
 
 
 
 
 
 
 
Neat stereo flanger-like effects can be made by (for example)
 
 
 
applying dualtapedecks.ny to audio, applying Stereo Butterfly (static)
 
 
 
with a spread value of zero (sounds mono after applying), then
 
 
 
applying dualtapedecks.ny a second time with the same settings as the
 
 
 
first time.
 
 
 
 
 
 
 
This plug-in will work on mono audio as well, but the only effect
 
 
 
will be rising and falling changes in pitch and tempo.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Selection Duration </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/duration.ny View duration.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/duration.zip Download duration.zip]}}
 
 
 
 
 
 
 
* Selection Duration (Version 2 plug-in)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Once copied into your Audacity plug-ins folder, this plug-in
 
 
 
 
 
 
 
utility appears in the analyze menu. It gives the duration of audio
 
 
 
 
 
 
 
you have selected. A lot easier to use for people using a screen
 
 
 
 
 
 
 
reader (rather than trying to decipher those numbers on the
 
 
 
 
 
 
 
screen).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you have opened or imported more than one track and have not yet
 
 
 
 
 
 
 
done a Quick Mix, this plug-in sequentially gives the duration of
 
 
 
 
 
 
 
each track you loaded into Audacity. Simply press &lt;enter&gt;
 
 
 
 
 
 
 
after each track duration is given. The final screen gives
 
 
 
 
 
 
 
information from Nyquist, which you can ignore. Simply press
 
 
 
 
 
 
 
&lt;enter&gt; to get to the regular Audacity screen.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
This is a Nyquist Version 2 plug-in which works in Audacity 1.2.3
 
 
 
 
 
 
 
and later.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky with Nyquist pointers from Steven Jones and
 
 
 
 
 
 
 
Dominic Mazzoni.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Regular interval labels</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/equalabl.ny View equalabl.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/equalabl.zip Download equalabl.zip]}}
 
 
 
 
 
 
 
equalabl.ny: Regular interval labels [analyze menu plug-in]
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
thanks to Sami Jumppanen from the Audacity users group for
 
 
 
 
 
 
 
suggesting this plug-in: adding labels to the label track at
 
 
 
 
 
 
 
regular intervals. Thanks to leland Lucius from the Audacity
 
 
 
 
 
 
 
development list for code feedback which helped wake me from late
 
 
 
 
 
 
 
night programming! And thanks to Gale Andrews from the Audacity
 
 
 
 
 
 
 
development list for suggesting improvements.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
<i>Warning! Using this plug-in will delete any label track you had
 
 
 
 
 
 
 
in your loaded audio. If you accidentally use this plug-in and want
 
 
 
 
 
 
 
to restore your previous label track, simply press control+z
 
 
 
 
 
 
 
once.</i>
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
After you've copied equalabl.ny into your Audacity plug-ins folder,
 
 
 
 
 
 
 
start a new session of audacity. Load audio you want to add
 
 
 
 
 
 
 
regularly-spaced labels to. Select audio [control+a]. Open analyze
 
 
 
 
 
 
 
menu [alt+a]. Click on 'Regular interval labels'. use or change the
 
 
 
 
 
 
 
following five default variablees:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Label interval [seconds]<br>
 
 
 
 
 
 
 
Default sixty seconds between labels, from one second to six
 
 
 
 
 
 
 
hundred seconds [ten minutes].
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. Label text<br>
 
 
 
 
 
 
 
The text that will appear in each label, default is "label".
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. Prepend numbers to label text [0=no 1=yes]<br>
 
 
 
 
 
 
 
Default is yes, so your labels would sequentially be "0label
 
 
 
 
 
 
 
1label..." and so on, using the default text.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. Final label [0=exclude 1=include]<br>
 
 
 
 
 
 
 
For example, if your selection is sixty seconds long, and your
 
 
 
 
 
 
 
label interval is ten seconds, the final label would be at the
 
 
 
 
 
 
 
exact end of your selection. By default, the above variable is to
 
 
 
 
 
 
 
exclude [not set] the final label.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. Final audio segment duration equal with others [0=no 1=yes] <br>
 
 
 
 
 
 
 
Your label interval setting may result in the final segment of
 
 
 
 
 
 
 
audio being unequal with the preceding ones. By default, the above
 
 
 
 
 
 
 
variable is set to make the final audio segment equal in duration
 
 
 
 
 
 
 
with the preceding ones. This might make the label interval
 
 
 
 
 
 
 
slightly different from your chosen one, depending on the size of
 
 
 
 
 
 
 
the final audio segment.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
<i>Note</i>
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
People using a screen reader can view the label track in Audacity
 
 
 
 
 
 
 
1.3.3 beta by opening the track menu [alt+t] and clicking on 'edit
 
 
 
 
 
 
 
labels'. The labels and their time positions can be read by
 
 
 
 
 
 
 
cursoring up and down and left-right. press alt+f4 to return to the
 
 
 
 
 
 
 
main Audacity screen.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky.<br>
 
 
 
 
 
 
 
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
 
 
 
 
 
 
 
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
 
 
 
 
 
 
 
released to the Audacity community  June 25, 2007.<br>
 
 
 
 
 
 
 
Thanks to Alex S. Brown for example code from his silencemarker.ny
 
 
 
 
 
 
 
plug-in for placing labels on the label track.<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php 
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Extract Audio </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/extractp.ny View extractp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/extractp.zip Download extractp.zip]}}
 
 
 
 
 
 
 
* Extract Audio (percent)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Select all your audio, then use this plug-in to set the start and
 
 
 
 
 
 
 
end margins using percentages. Start and end margins are anywhere
 
 
 
 
 
 
 
from 0 to 100 percent.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If for example your audio is ten seconds long, you set the start at
 
 
 
 
 
 
 
0 percent and the end at 50 percent, the result will be the first
 
 
 
 
 
 
 
5 seconds of your selected audio. If you re-apply the effect with
 
 
 
 
 
 
 
the same settings, the result will be the first 2.5 seconds of your
 
 
 
 
 
 
 
original selected audio.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you do not like the extracted audio margins, you can undo the
 
 
 
 
 
 
 
result and apply with slightly different settings. Or you can re-
 
 
 
 
 
 
 
apply for shrinking the audio further. Great for people who do not
 
 
 
 
 
 
 
want to fiddle around with the cursor keys for selecting audio.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Beware! Audio outside the start and end percent margins will be
 
 
 
 
 
 
 
discarded! A plug-in for re-inserting the (altered) extracted audio
 
 
 
 
 
 
 
into the discarded audio is in the works.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Fade In and Out</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/fade-io.ny View fade-io.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/fade-io.zip Download fade-io.zip]}}
 
 
 
 
 
 
 
* Fade In and Out (Version 2 plug-in)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Define fade-in and fade-out times, in seconds. Saves fiddling
 
 
 
 
 
 
 
around with the mouse or keyboard.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Delay with Stereo Flip</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/flipdelay.ny View flipdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/flipdelay.zip Download flipdelay.zip]}}
 
 
 
 
 
 
 
* Delay with Stereo Flip
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
This is a stereo delay effect: with each delay, the stereo channels
 
 
 
 
 
 
 
are flipped left-right and vice versa. Inspired by a sound effect
 
 
 
 
 
 
 
heard in the opening track of Mike Oldfield's "songs From Distant
 
 
 
 
 
 
 
Earth."
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
decay: the drop in volume (db) with each delay (default 3.0);
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
delay time: default 0.5 seconds;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
number of delays, including the original audio: default 10.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Thanks to Steven Jones for illustrating how to check for even/odd
 
 
 
 
 
 
 
numbers.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky December 2, 2004<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>High Pass Filter with Q</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/highpass2.ny View highpass2.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/highpass2.zip Download highpass2.zip]}}
 
 
 
 
 
 
 
High Pass Filter with Q
 
 
 
 
 
 
 
A high pass filter with q, or resonance. the higher q is, the more
 
 
 
the cutoff frequency will resonate (produce a tone). (High pass
 
 
 
filter allows frequencies above the cutoff frequency to pass, cuts
 
 
 
off the lower frequencies.) works on mono and stereo audio.
 
 
 
 
 
 
 
Applied to white noise, this filter and the low pass filter with Q
 
 
 
can be used to
 
 
 
produce wind-like sounds, but only at a constant frequency.
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Delay with high pass filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/hpdelay.ny View hpdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/hpdelay.zip Download hpdelay.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/hpdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
High-pass Delay
 
 
 
 
 
 
 
You can define delay time, how much each delay
 
 
 
decreases in db (although this does not seem to be necessary, so
 
 
 
the default value is 0 db),  number of delays, the starting cutoff
 
 
 
frequency of the high pass filter, and how much to increase the
 
 
 
cutoff frequency (in octaves) from there for each delay.
 
 
 
 
 
 
 
Applied to a voice, each delay sounds like it's increasingly coming
 
 
 
from a telephone.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Hyperexp</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/hyperexp.ny View hyperexp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/hyperexp.zip Download hyperexp.zip]}}
 
 
 
 
 
 
 
The hyperexp effect is a type of compression. Signal amplitudes of approximately
 
 
 
unity are relatively unchanged. Low amplitude sections are greatly
 
 
 
amplified. The effect is a partial nullification of the amplitude envelope.
 
 
 
 
 
 
 
(c) Steven Jones 27 September 2004
 
 
 
This software is released under the terms of the GNU public license.
 
 
 
  <hr>
 
 
 
<b>LFO High Pass Filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/lfohp.ny View lfohp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lfohp.zip Download lfohp.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/lfohp1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/lfohp2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; 
 
 
 
* LFO High Pass Filter
 
 
 
 
 
 
 
Similar to the LFO Low pass Filter, except a low frequency
 
 
 
oscillator moves the cutoff frequency of a highpass filter up and
 
 
 
down. 
 
 
 
 
 
 
 
Variables
 
 
 
 
 
 
 
1. Center cutoff frequency, in Hz (default 640Hz).<br>
 
 
 
2. LFO depth: how far above and below the center frequency the LFO
 
 
 
sweeps the filter (in octaves, default 1.0).<br>
 
 
 
3. LFO frequency: speed of up and down sweeping (default
 
 
 
0.2Hz).<br>
 
 
 
4. LFO starting phase: in degrees, from -180 to +180 (default 0).
 
 
 
 
 
 
 
Audio examples
 
 
 
 
 
 
 
lfolp1.mp3: center frequency 640Hz, 5 octave depth, LFO 1.0Hz,
 
 
 
applied to 110Hz square wave.<br>
 
 
 
lfolp2.mp3: 640Hz center frequency, 5 octave depth, 5Hz LFO,
 
 
 
applied 3 times to voice.
 
 
 
 
 
 
 
written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>LFO Low Pass Filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/lfolp.ny View lfolp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lfolp.zip Download lfolp.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/lfolp1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/lfolp2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/lfolp3.mp3 [MP3 Clip 3]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/lfolp4.mp3 [MP3 Clip 4]]}}&nbsp;&nbsp; 
 
 
 
LFO Low Pass Filter
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Like on an electronic music synthesizer, a low frequency oscillator
 
 
 
 
 
 
 
moves the cutoff frequency of a lowpass filter up and down.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. Center cutoff frequency, in Hz (default 640Hz).<br>
 
 
 
 
 
 
 
2. LFO depth: how far above and below the center frequency the LFO
 
 
 
 
 
 
 
sweeps the filter (in octaves, default 1.0).<br>
 
 
 
 
 
 
 
3. LFO frequency: speed of up and down sweeping (default
 
 
 
 
 
 
 
0.2Hz).<br>
 
 
 
 
 
 
 
4. LFO starting phase: in degrees, from -180 to +180 (default 0).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Audio examples
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
lfolp1.mp3, lfolp2.mp3, lfolp3.mp3: default settings, applied to
 
 
 
 
 
 
 
white noise 1, 2 and 3 times, respectively.<br>
 
 
 
 
 
 
 
lfolp4.mp3: center frequency 640Hz, 2 octave depth, LFO 1.0Hz,
 
 
 
 
 
 
 
applied to 640Hz square wave.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
written by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>LFO panning</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/lfopan.ny View lfopan.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lfopan.zip Download lfopan.zip]}}
 
 
 
  LFO panning - Panning controlled by a low frequency oscillator.
 
 
 
Frequency of the oscillator and width of the stereo spread are
 
 
 
controllable by you. You must have the audio in stereo first,
 
 
 
preferably in the center for best results.
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Low Pass Filter with Q</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/lowpass2.ny View lowpass2.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lowpass2.zip Download lowpass2.zip]}}
 
 
 
 
 
 
 
Low Pass Filter with Q
 
 
 
 
 
 
 
A low pass filter with q, or resonance. the higher q is, the more
 
 
 
the cutoff frequency will resonate (produce a tone). (Low pass
 
 
 
filter allows frequencies below the cutoff frequency to pass, cuts
 
 
 
off the higher frequencies.) Works on mono and stereo audio.
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Delay with low pass filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay.ny View lpdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay.zip Download lpdelay.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
Low-pass delay
 
 
 
 
 
 
 
You can define delay time, how much each delay
 
 
 
decreases in db (although this does not seem to be necessary, so
 
 
 
the default value is 0 db),  number of delays, the starting cutoff
 
 
 
frequency of the low pass filter, and how much to decrease the
 
 
 
cutoff frequency (in octaves) from there for each delay.
 
 
 
 
 
 
 
To me, this has the psychoacoustic effect of each delay sounding
 
 
 
further and further away.
 
 
 
 
 
 
 
Based on an effect heard in a popular Cher tune in the late 1990s
 
 
 
or later. Thanks for the idea Cher!
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Multiband EQ</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/multibandeq.ny View multibandeq.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/multibandeq.zip Download multibandeq.zip]}}
 
 
 
  Multi-band EQ: Select total number of bands (T, from 2 to 30),
 
 
 
band number (1 to 30, depending on how many total bands T you chose),
 
 
 
and apply gain (-24 to +24 db). Determines width of band depending on
 
 
 
total band number T you chose.
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Mutron</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/mutron.ny View mutron.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/mutron.zip Download mutron.zip]}}
 
 
 
 
 
 
 
Loosely based on the Mutron stomp box from the late 70's. Basically it is an
 
 
 
envelope follower controlled filter.
 
 
 
 
 
 
 
Center - sets un-modulated filter frequency.<br>
 
 
 
Depth - sets filter modulation depth either negative or positive.<br>
 
 
 
Band Width - Resonance control, lower values are more resonant.<br>
 
 
 
Mode - There are four filters:<br>
 
 
 
0 - Low pass<br>
 
 
 
1 - High pass<br>
 
 
 
2 - Band Reject<br>
 
 
 
3 - Band Pass<br>
 
 
 
 
 
 
 
By Steven Jones
 
 
 
  <hr>
 
 
 
<b>Notch Filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/notch.ny View notch.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/notch.zip Download notch.zip]}}
 
 
 
 
 
 
 
Notch filter
 
 
 
 
 
 
 
Like its name suggests, a notch filter cuts out a "notch" in the
 
 
 
spectrum of your audio. The default frequency is 60Hz, great for
 
 
 
removing 60Hz electrical hum, in case your recording equipment has
 
 
 
picked this up.
 
 
 
 
 
 
 
The second control, q, determines the width of the notch cut from
 
 
 
your audio. Default q is 1, below 1 creates a wider notch, above 1
 
 
 
creates a narrower notch.
 
 
 
 
 
 
 
Works on mono and stereo audio.
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Panning</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/pan.ny View pan.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/pan.zip Download pan.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/pan1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp;  Pan
 
 
 
- If you prefer to use the keyboard over the mouse, pan will statically
 
 
 
pan your audio anywhere between left and right channels. You must have
 
 
 
the audio in stereo first, preferably in the center for best results.
 
 
 
  <hr>
 
 
 
<b>Delay with Pitch Shift</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/pitchdelay.ny View pitchdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/pitchdelay.zip Download pitchdelay.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/pitchdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/pitchdelay2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; 
 
 
 
* Delay with Pitch Shift
 
 
 
 
 
 
 
A delay plug-in except each delay is pitch shifted. Standard delay
 
 
 
variables: decay (in db), delay time (in seconds), and number of
 
 
 
delays. Also includes amount of pitch shift (from 0.1 to 10.0) and
 
 
 
selection of whether the pitch is to be multiplied (0) or divided
 
 
 
(1) by the shift number.
 
 
 
 
 
 
 
* tonedelay.ny: Delay with Tone Shift
 
 
 
 
 
 
 
Similar to pitchshift.ny except you can define in semitones how
 
 
 
much each delay is to be pitch shifted. A shift of 1 semitone means
 
 
 
each delay is increased in pitch by 1 semitone, a shift of -1 means
 
 
 
a decrease of 1 semitone. Includes whole semitones plus semitone
 
 
 
cents (hundredths of a semitone).
 
 
 
 
 
 
 
Warning! Both plug-ins are best applied to relatively short
 
 
 
duration audio, or few number of delays for longer audio. Otherwise
 
 
 
Audacity will be working a _long_ time. Same thing seems to happen
 
 
 
if there is already pitch shifting within the audio. (This all may
 
 
 
be simply my computer, which runs at 233MHz.)
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>ramp panning</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/ramppan.ny View ramppan.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/ramppan.zip Download ramppan.zip]}}
 
 
 
  Ramp panning - evenly pan your audio from anywhere to anywhere
 
 
 
else in the stereo field. Left to right, center to in-between left and
 
 
 
center, where-ever you wish.
 
 
 
Written by David R. Sky
 
 
 
  <hr>
 
 
 
<b>Random Amplitude Modulation</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/randomamp.ny View randomamp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randomamp.zip Download randomamp.zip]}}
 
 
 
 
 
 
 
Random amplitude modulation
 
 
 
 
 
 
 
Similar to Random Panning, this time playing around with the volume
 
 
 
knob. You can set the maximum speed (maxspeed, in hz) of the random
 
 
 
changes. The other setting, factor, determines how deeply the
 
 
 
random amp effect is. Because of the way the random signal is
 
 
 
generated, the lower maxspeed is, the higher factor must be in
 
 
 
order to produce the same amp result. (Factor can be used to
 
 
 
increase or decrease the amp effect.)
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Random low pass filter</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/randomlp.ny View randomlp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randomlp.zip Download randomlp.zip]}}
 
 
 
 
 
 
 
Random Low pass Filter
 
 
 
 
 
 
 
Like someone is playing around with the cutoff frequency knob of
 
 
 
your low pass filter. As with Random Panning and Random Amp
 
 
 
Modulation, there are maxspeed and factor controls, plus a third
 
 
 
control, the maximum cutoff frequency of the low pass filter.
 
 
 
 
 
 
 
Once again, the lower you set maxspeed, the higher you must set
 
 
 
factor to get similar depth of random filtering result. You can use
 
 
 
factor to decrease or increase the amount of randomness modulation.
 
 
 
 
 
 
 
If you generate white noise then apply this effect, you can
 
 
 
_partially_ simulate wind sound. the rising and falling tones of
 
 
 
wind are for another plug-in...
 
 
 
 
 
 
 
By David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Random panning</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/randompan.ny View randompan.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randompan.zip Download randompan.zip]}}
 
 
 
 
 
 
 
Random Panning
 
 
 
 
 
 
 
Like someone is playing around with the panning knob. You can set
 
 
 
the maximum speed (maxspeed, in hz) of the random changes. The
 
 
 
other setting, factor, determines how deeply the random panning
 
 
 
effect is. Because of the way the random signal is generated, the
 
 
 
lower maxspeed is, the higher factor must be in order to produce
 
 
 
the same panning result. (Factor can be used to increase or
 
 
 
decrease the panning effect.)
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Random Pitch Modulation</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/randompitch.ny View randompitch.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randompitch.zip Download randompitch.zip]}}
 
 
 
 
 
 
 
Random pitch Modulation
 
 
 
 
 
 
 
Randomly modulates the pitch of your audio. As with previous
 
 
 
randomly-controlled effects, the maximum speed (maxspeed) of the
 
 
 
random changes is adjustable (in Hz). Again, the lower maxspeed is,
 
 
 
the higher you must set the factor control to get the same depth of
 
 
 
randomness as with higher maxspeed settings.
 
 
 
 
 
 
 
Increasing warping depth gives you increasing pitch changes. A
 
 
 
fourth control, max pitch depth, is included. If the warping depth
 
 
 
is high enough, max depth should be made higher otherwise there
 
 
 
will be momentary periods of no pitch changes. With lower warping
 
 
 
settings, this does not happen, and the effect can be re-applied
 
 
 
repeatedly for further random pitch changes.
 
 
 
 
 
 
 
It's difficult to explain the workings of the controls, it's easier
 
 
 
to experiment and find out what happens.
 
 
 
 
 
 
 
This effect works on mono and stereo audio. In stereo, each channel
 
 
 
has different random pitch modulation applied.
 
 
 
 
 
 
 
By David R. Sky
 
 
 
  <hr>
 
 
 
<b>Reverse bouncing ball delay with Tone Shift</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/rbbdtone.ny View rbbdtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/rbbdtone.zip Download rbbdtone.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/rbbdtone1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/rbbdtone2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; 
 
 
 
* Reverse Bouncing Ball Delay with Tone Shift
 
 
 
 
 
 
 
The fast bounces come first, and each bounce is tone shifted.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Reverse bouncing ball delay</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/reversebouncing.ny View reversebouncing.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/reversebouncing.zip Download reversebouncing.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/reversebouncing1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
Reverse bouncing ball delay
 
 
 
 
 
 
 
The fast bounces come first, gradually slowing down. Reverse of the
 
 
 
bouncing ball delay effect.
 
 
 
 
 
 
 
by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Audio Sample Sequencer 1</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b.ny View sequencer1b.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b.zip Download sequencer1b.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b2.mp3 [MP3 Clip 2]]}}&nbsp;&nbsp; {{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b3.mp3 [MP3 Clip 3]]}}&nbsp;&nbsp; 
 
 
 
* sequencer1b.ny: Audio Sample Sequencer 1.b
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Improved over sequencer 1.a: simplified code makes this a version
 
 
 
 
 
 
 
1 plug-in. Sequences mono and stereo audio already loaded into
 
 
 
 
 
 
 
Audacity, whether a note, vocal sound, series of notes and/or vocal
 
 
 
 
 
 
 
sounds, etc. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Select all audio first, then click on Audio Sample Sequencer 1.b
 
 
 
 
 
 
 
from the effects menu.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
tempo (steady, in beats per minute);
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
beats per measure (one to sixteen). This plug-in "assumes" that one
 
 
 
 
 
 
 
sequence of notes is one measure;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
sequences to generate: how many of these sequences do you want to
 
 
 
 
 
 
 
generate (from one to a thousand);
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
16 pairs of tone shift and volume level (tone shift is measured in
 
 
 
 
 
 
 
semitones - 0 means no tone shift, negative numbers indicate tone
 
 
 
 
 
 
 
drop, positive numbers indicate tone increase; volume level 1.0
 
 
 
 
 
 
 
means regular volume, 0.0 means you do not hear a note generated
 
 
 
 
 
 
 
for that beat. volume can range from 0.0 to 1.0.)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
When you have a tone loaded into Audacity, you can create a major
 
 
 
 
 
 
 
scale of 8 notes by 1. selecting desired tempo; 2. selecting 8
 
 
 
 
 
 
 
beats per measure; 3. selecting how many sets
 
 
 
 
 
 
 
(sequences) of these 8 notes you want to generate (default is 16).
 
 
 
 
 
 
 
These would be the settings for the 8 tone shift edit fields:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
0, 2, 4, 5, 7, 9, 11, 12.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
If you start with a C note, the above settings will generate a C
 
 
 
 
 
 
 
major scale. If your starting note is a B flat note, the above will
 
 
 
 
 
 
 
create a B flat major scale.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Rhythms can also be created by playing with the volume edit fields.
 
 
 
 
 
 
 
For example, in a series of eighth notes, notes which fall on only
 
 
 
 
 
 
 
the first, fourth and seventh beats can be made by making beats per
 
 
 
 
 
 
 
measure 8, and making volume on #2, 3, 5, 6 and 8 to 0.0.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
It is possible to generate a short sequence using this plug-in,
 
 
 
 
 
 
 
then apply it again to that new audio with different settings.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Copy sequencer1b.ny into your Audacity plug-ins folder. The next
 
 
 
 
 
 
 
time you open Audacity, you'll find audio Sample Sequencer 1.b in
 
 
 
 
 
 
 
the effects menu.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky December 17, 2004<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Tempo Change</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/tempo.ny View tempo.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/tempo.zip Download tempo.zip]}}
 
 
 
 
 
 
 
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/tempo1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
 
 
 
* Tempo Change
 
 
 
 
 
 
 
I want to convert old tapes recorded at half speed to normal speed
 
 
 
using Audacity, and  wanted a simple plug-in to change tempo.
 
 
 
 
 
 
 
Variables
 
 
 
 
 
 
 
1. Tempo change: default is 0.5.<br>
 
 
 
2. Multiply or divide selector: 0=multiply, 1=divide; default is 0.
 
 
 
 
 
 
 
If multiply is selected, tempo of the audio is multiplied by the
 
 
 
tempo change number. Selecting divide divides the tempo by the
 
 
 
tempo change number.
 
 
 
 
 
 
 
Applying this effect to selected audio (using default settings)
 
 
 
halves the tempo (and therefore the pitch).
 
 
 
 
 
 
 
Multiplying by 0.5 is the same as dividing by 2.
 
 
 
 
 
 
 
Audio examples
 
 
 
 
 
 
 
tempo1.mp3: "Hello" at half, normal and twice normal speeds.
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Time Shift tool</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/timeshift.ny View timeshift.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/timeshift.zip Download timeshift.zip]}}
 
 
 
 
 
 
 
* Time Shift Tool
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A plug-in for performing the same task as the time shift tool in
 
 
 
 
 
 
 
Audacity.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Choose the track you want to time shift (0=left, 1=right), and the
 
 
 
 
 
 
 
amount to shift (range from 0.0 to 100.0 milliseconds). If you
 
 
 
 
 
 
 
choose the left channel shifted by 10.0ms, it will start 10.0ms
 
 
 
 
 
 
 
later than previously.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Only works on stereo audio. Useful for aligning tracks due to
 
 
 
 
 
 
 
recording latency. Also can be used for stereo effects.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Delay with tone Shift</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/tonedelay.ny View tonedelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/tonedelay.zip Download tonedelay.zip]}}
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Turntable Warping </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp-ms.ny View turntablewarp-ms.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp-ms.zip Download turntablewarp-ms.zip]}}
 
 
 
 
 
 
 
* turntablewarp-ms.ny: Turntable Warping (mono/stereo) <br>
 
 
 
 
 
 
 
(version 2 plug-in)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Improved over the previous turntablewarp.ny plug-in - you can warp
 
 
 
 
 
 
 
both mono and stereo audio.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
You can simulate unplugging your turntable while it's playing,
 
 
 
 
 
 
 
plugging it in, and related effects. A version 2 Nyquist plug-in
 
 
 
 
 
 
 
which works on Audacity 1.2.3 and later.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables with explanations:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
"step" indicates how many semitones above or below pitch of
 
 
 
 
 
 
 
original audio (1 step = 1 semitone, 12 steps = 1 octave, etc.);
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
"amplitude" indicates volume level (in percent).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
There are 5 values you can change:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. start step (default 0): how many semitones above or below
 
 
 
 
 
 
 
original audio at start of selection;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. start amplitude (default 100%): volume at start of selection;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. change time (default 50%): point in time of original selection
 
 
 
 
 
 
 
at which warping values can change between first and second part of
 
 
 
 
 
 
 
selection. This point has an internal step value of 0 semitones
 
 
 
 
 
 
 
change, and internal volume of 100%;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. end step (default -12 semitones, 1 octave drop): at end of
 
 
 
 
 
 
 
warped selection, how many semitones audio has been warped;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. end volume (default 40%): volume at end of warped audio.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Applying this plug-in with the default settings results in the
 
 
 
 
 
 
 
audio starting to slow down halfway through the original selection,
 
 
 
 
 
 
 
and dropping to 40% of original volume. Like unplugging a turntable
 
 
 
 
 
 
 
while it's playing.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Since the "change time" is internally set at step 0 semitones and
 
 
 
 
 
 
 
volume 100%, different warping effects can be created, depending on
 
 
 
 
 
 
 
the start and end step and volume values:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
slowing down then speeding up;<br>
 
 
 
 
 
 
 
speeding up then slowing down;<br>
 
 
 
 
 
 
 
speeding up to a particular step value then remaining at that
 
 
 
 
 
 
 
value;<br>
 
 
 
 
 
 
 
slowly speeding up then quickly speeding up;<br>
 
 
 
 
 
 
 
etc.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Thanks to Roger B. Dannenberg for the warp tutorial on which this
 
 
 
 
 
 
 
plug-in is based. Thanks Sebastien Chopin for the request for the
 
 
 
 
 
 
 
stereo version of this plug-in.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Copy turntablewarp-ms.ny into the Audacity plug-ins folder. next
 
 
 
 
 
 
 
time you (re)start Audacity, Turntable Warping (mono/stereo) (V2)
 
 
 
 
 
 
 
will appear in the effects menu.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky December 26, 2004<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public license<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Turntable Warping </b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp.ny View turntablewarp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp.zip Download turntablewarp.zip]}}
 
 
 
 
 
 
 
* turntablewarp.ny: Turntable Warping (version 2 plug-in)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
You can simulate unplugging your turntable while it's playing,
 
 
 
 
 
 
 
plugging it in, and related effects. At this point only works on
 
 
 
 
 
 
 
mono audio. A version 2 Nyquist plug-in which works on Audacity
 
 
 
 
 
 
 
1.2.3 and later.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Variables with explanations:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
"step" indicates how many semitones above or below pitch
 
 
 
 
 
 
 
of original audio (6 steps = half an octave, 12 steps = 1 octave,
 
 
 
 
 
 
 
etc.);
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
"amplitude" indicates volume level (in percent).
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
There are 5 values you can change:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1. start step (default 0): how many semitones above or below
 
 
 
 
 
 
 
original audio at start of selection;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2. start amplitude (default 100%): volume at start of selection;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3. change time (default 50%): point in time of original selection
 
 
 
 
 
 
 
at which warping values can change between first and second part of
 
 
 
 
 
 
 
selection. This point has an internal step value of 0 and internal
 
 
 
 
 
 
 
volume of 100%;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4. end step (default -12): at end of warped selection, how many
 
 
 
 
 
 
 
semitones audio has been warped;
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5. end volume (default 40%): volume at end of warped audio.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Applying this plug-in with the default settings results in the
 
 
 
 
 
 
 
audio starting to slow down halfway through the original selection,
 
 
 
 
 
 
 
and dropping to 40% of original volume. Like unplugging a turntable
 
 
 
 
 
 
 
while it's playing.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Since the "change time" is internally set at step 0 and
 
 
 
 
 
 
 
volume 100%, different warping effects can be created, depending on
 
 
 
 
 
 
 
the start and end step and volume values:
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
slowing down then speeding up;
 
 
 
 
 
 
 
speeding up then slowing down;
 
 
 
 
 
 
 
speeding up then remaining normal;
 
 
 
 
 
 
 
slowly speeding up then quickly speeding up;
 
 
 
 
 
 
 
etc.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Thanks to Roger B. Dannenberg for the warp tutorial on which this
 
 
 
 
 
 
 
plug-in is based.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Written by David R. Sky December 13, 2004<br>
 
 
 
 
 
 
 
Released under terms of the GNU Public License<br>
 
 
 
 
 
 
 
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
 
 
 
 
 
 
 
http://www.opensource.org/licenses/gpl-license.php]}}
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  <hr>
 
 
 
<b>Stereo Widener</b> |
 
 
 
{{external|1=[http://audacity.sourceforge.net/nyquist/widener.ny View widener.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/widener.zip Download widener.zip]}}
 
 
 
 
 
 
 
* Stereo Widener
 
 
 
 
 
 
 
This plug-in gives the effect of widening stereo audio, using a
 
 
 
method David Walsh outlined on the Audacity-users list (thanks
 
 
 
David).
 
 
 
 
 
 
 
There is one variable, Inverted Signal Volume (vol, default is -20
 
 
 
db).
 
 
 
 
 
 
 
Each channel is inverted, attenuated by (vol), then added to  the
 
 
 
opposite channel. The greater (vol) is, the wider the stereo effect.
 
 
 
 
 
 
 
Written by David R. Sky
 

Revision as of 13:40, 20 June 2021

This page lists all Nyquist plug-ins for Audacity that are available as separate downloads. Nyquist plug-ins support Windows, Mac and Linux/Unix. Click any "Downloads" link to jump to the downloads page for that plug-in category.
Unless otherwise indicated, all plug-ins are released under the terms of the GNU General Public License, version 2.

Downloading or viewing plug-ins

Download:

  • Left-click the download link to download the file in almost all web browsers. If this only displays the plug-in code, right-click the download link and select "Save Link As...", Save As..." or some similar "Save" or "Download" command. For further information, please see the documentation for your web browser.

View the plug-in code:

  • Chrome: Download any plug-in once, then right-click over the download button at the bottom of the browser and choose "Always open this file type".
  • Firefox: Open Options or Preferences, then click the "General" section at the top. In the "Downloads" section, choose "Always ask me where to save files". When you click the download link, you now have an extra option to open the file in a chosen application instead of save it.
  • Internet Explorer or Microsoft Edge: Right-click the download link, choose any of the "Open" options then in the box that appears, click the "Open" button. In Edge, this also downloads the file.
  • Safari: Downloaded plug-ins will automatically open in your default text editor after download. You can disable automatic open after download in Safari Preferences.


Installing plug-ins

To install Nyquist plug-ins in Audacity, follow the instructions in the Audacity manual:


Compatibility

These plug-ins were contributed over many years, and many versions of Audacity. In the vast majority of cases, old plug-ins should continue to work in more recent versions of Audacity. More recent Nyquist effects may not install in old versions of Audacity or may not work correctly.

Warning icon It is highly recommended to use the latest release version of Audacity, which is available via the Audacity website.

List of available plug-ins

Warning icon Feedback and bug reports:
  • All new plug-ins added to this list are tested in the Audacity version current at the time, but many of the older plug-ins are still in need of testing.
    • Please report any bugs to the Nyquist section of the Audacity forum so they may be fixed.
    • Some Nyquist plug-ins are unsuitable for processing long audio tracks. If a plug-in causes excessive memory use and causes Audacity to freeze or crash when used on long tracks, please let us know so that we can either limit the plug-in to short selections or add a note to the plug-in description so as to warn other users of the possibility.
  • Please also let us know which plug-ins you like and find useful as that will help us to develop the types of plug-ins that users want.

Generate type plug-ins

These plug-ins usually appear towards the bottom of the Generate menu in Audacity.

Tone Generators
  1. Buzz tone generator
  2. DTMF Tones (random)
  3. DTMF Tones
  4. HQ-Tone
  5. PWM
Noise Generators
  1. Harmonic Noise
Special Effects
  1. Binaural Tones with Surf 2
  2. Surf-lfo
  3. Surf-oxy
Instruments
  1. Fire and Explosion sounds
  2. KLSTRBAS
  3. Pluck (Hz)
  4. Risset Bell
Sequence Generators
  1. Rndtone
  2. SQ1 Generator Sequencer
Generator Utilities
  1. Nyquist Generate Prompt
  2. Tuning Fork
  3. Variable Duration Silence Generator



Effect type plug-ins

These plug-ins usually appear towards the bottom of the Effect menu in Audacity.

Amplify, Mix and Pan Effects
  1. Amplify Left or Right Channel
  2. Bass to Center
  3. Center Pan Remover
  4. Channel Mixer
  5. Cross Fade In
  6. Cross Fade Out
  7. Fade In and Out
  8. Panning
  9. Panning (LFO)
  10. Panning (random)
  11. Pseudo-Stereo
  12. Ramp Panning
  13. Repair Channel
  14. Stereo Butterfly (static)
  15. Stereo Butterfly (LFO)
  16. Stereo Butterfly (ramp)
  17. Stereo Widener
Delay and Reverb
  1. Bouncing Ball Delay
  2. Bouncing Ball Delay with Panning
  3. Bouncing Ball Delay with Tone Shift
  4. Reverse Bouncing Ball Delay
  5. Reverse Bouncing Ball Delay with Tone Shift
  6. Chimes delay
  7. Delay BPM with Panning
  8. Delay with High-Pass Filter
  9. Delay with Low-Pass filter
  10. Delay with Pitch Change
  11. Delay with Stereo Flip
  12. Delay with Tone Shift
Distortion Effects
  1. Harmonic Enhancer
  2. Tape Saturation Limiter
Dynamics Processing
  1. Broadcast Limiter II
  2. Broadcast Limiter III
  3. Hyperexp
  4. LevelSpeech
  5. Limiter
  6. Limiter (2)
  7. Noise Gate
  8. Pop Mute
  9. Text Envelope
Filters
  1. Band Stop Filter
  2. Chebyshev Type I Filter
  3. Classic EQ
  4. Comb Filter
  5. Customizable EQ
  6. Desk EQ
  7. High-Pass Filter with q
  8. High Pass Filter (LFO)
  9. Hum Remover
  10. Low-Pass Filter (LFO)
  11. Low-Pass Filter with Q
  12. Multiband EQ
  13. Mutron
  14. Notch Filter
  15. Parametric EQ
  16. Random Low-Pass Filter
  17. Resonant Filter
  18. Shelf Filter
  19. Ten Band EQ
Modulation Effects
  1. Dual Tape Decks
  2. Flanger (linear)
  3. Isochronic modulator
  4. Random Amplitude Modulation
  5. Random Pitch Modulation
  6. Ring modulator
  7. Variable Tremolo
  8. Vibrato
Sequencer Effects
  1. Audio Selection Sequencer 2
Time, Pitch and Tempo
  1. Change Speed by Semitones
  2. Extract Audio
  3. Insert Silence
  4. Regular interval audio splitter
  5. Sliding Speed Change
  6. Tempo Change
  7. Time Shifter
  8. Trim / Extend
  9. Trim Silence
  10. Turntable Warping MS

Analyze type plug-ins

These plug-ins usually appear towards the bottom of the Analyze menu in Audacity.

All Analyze plug-ins
  1. ACX Check
  2. Peak Finder rft
  3. Pitch Detect
  4. Regular Interval Labels
  5. Selection Duration
  6. Silence Finder

Tools type plug-ins

These plug-ins usually appear towards the bottom of the Tools menu in Audacity.


Nyquist plug-ins shipped with current Audacity

The following Nyquist plug-ins are shipped with the current Audacity version. You can read about what each plug-in does on Index of Effects, Generators and Analyzers in the Audacity Manual.

  • adjustable-fade.ny
  • beat.ny
  • clipfix.ny
  • crossfadeclips.ny
  • crossfadetracks.ny
  • delay.ny
  • equalabel.ny
  • eq-xml-to-txt-converter.ny
  • highpass.ny
  • label-sounds.ny
  • limiter.ny
  • lowpass.ny
  • noisegate.ny
  • notch.ny
  • nyquist-plug-in-installer.ny
  • pluck.ny
  • rhythmtrack.ny
  • rissetdrum.ny
  • rms.ny
  • sample-data-export.ny
  • sample-data-import.ny
  • spectral-delete.ny
  • SpectralEditMulti.ny
  • SpectralEditParametricEQ.ny
  • SpectralEditShelves.ny
  • StudioFadeOut.ny
  • tremolo.ny
  • vocalrediso.ny
  • vocoder.ny


Plug-in authors

These plug-ins have been contributed by:

  • Steve Daulton
  • Edgar Franke
  • Steven Jones
  • Paul Licameli
  • David R.Sky
  • Jvo Studer
  • Will McCown.
If you are a plug-in author, thanks for your contribution! Please register on the Audacity Forum then post your plug-in for review at https://forum.audacityteam.org/viewforum.php?f=42. Please see Conventions for Nyquist Plug-ins before posting.

Related articles

Links

|< Nyquist