Difference between revisions of "Download Nyquist Plug-ins"

From Audacity Wiki
Jump to: navigation, search
(some text added)
Line 114: Line 114:
 
<hr>  
 
<hr>  
  
<font color="#FF6600">'''Random Touch Tones (TM)''' </font> (randomtouchtones.ny)
+
<font color="#FF6600">'''DTMF Tones (random)''' </font> (dtmfrand.ny)
{{external|[http://audacity.sourceforge.net/nyquist/randomtouchtones.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/randomtouchtones.zip Download]}} |
+
{{external|[http://audacity.sourceforge.net/nyquist/dtmfrand.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/dtmfrand.zip Download]}} |
{{external|[http://audacity.sourceforge.net/nyquist/randomtouchtones1.mp3 MP3 example clip]}}
 
  
 
Touch Tones (also known as DTMF or Dual Tone Multi Frequency Tones) are the tones made by key pads on telephones. Each tone is comprised of two separate tones at different pitch, hence "dual tone".   
 
Touch Tones (also known as DTMF or Dual Tone Multi Frequency Tones) are the tones made by key pads on telephones. Each tone is comprised of two separate tones at different pitch, hence "dual tone".   
 
The MP3 clip contains the following samples:
 
*20 tones generated at default values
 
*40 tones generated at default values, silence duration 0 seconds
 
* 5 tones generated at tone and silence duration 0.2 seconds, twist value 0.
 
  
 
Parameters:  
 
Parameters:  
  
"Number of Touch Tones" int "number" 10 1 1000 
+
#'''Number of DTMF Tones'''
 
+
#'''Option to include military tones A-D
"Tone duration" real "seconds" 0.050 0.001 1.000 
+
#'''Option to include silent intervals
 
+
#'''Volume'''
"High to low tone ratio" (or twist) real "db" 4.0 0.0 4.0
+
#'''Tone length''' in seconds
 
+
#'''High to low tone ratio''' (or twist) in dB
"Post silence duration" real "ms" 0.050 0.000 1.000
+
#'''Post silence duration''' in milliseconds
  
 
"Twist" is the volume ratio between the higher-pitched and lower-pitched tones in any given tone. So a twist value of 0 dB means the higher-pitched tone is no louder than the lower-pitched tone. A twist value of 4 dB means the higher-pitched tone is 4 dB louder than the lower-pitched tone.   
 
"Twist" is the volume ratio between the higher-pitched and lower-pitched tones in any given tone. So a twist value of 0 dB means the higher-pitched tone is no louder than the lower-pitched tone. A twist value of 4 dB means the higher-pitched tone is 4 dB louder than the lower-pitched tone.   
 
Also see DTMF  set volume and string 
 
  
 
<hr>  
 
<hr>  
  
<font color="#FF6600">DTMF </font>  
+
<font color="#FF6600">'''DTMF Tones''' </font> (dtmf.ny)
 +
{{external|[http://audacity.sourceforge.net/nyquist/dtmf.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/dtmf.zip Download]}}
  
 +
Touch Tones (also known as DTMF or Dual Tone Multi Frequency Tones) are the tones made by key pads on telephones. Each tone is comprised of two separate tones at different pitch, hence "dual tone". 
  
 +
Type in your telephone number, or an 'alphabetized' number such as "1800audacity". Includes the military's A, B, C and D tones to the right of the regular number keypad.
  
<b>Risset Bell</b> |
+
Parameters:
  
{{external|1=[http://audacity.sourceforge.net/nyquist/rbell.ny View rbell.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/rbell.zip Download rbell.zip]}}
+
#'''Tone string:''' by default "180audacity"
 +
#'''Tone duration: in milliseconds
 +
#'''Silence duration after tone:''' in milliseconds
 +
#'''Twist (increased volume of the higher tone in each tone) in dB
 +
#'''Volume''' in percent
  
 
+
"Twist" is the volume ratio between the higher-pitched and lower-pitched tones in any given tone. So a twist value of 0 dB means the higher-pitched tone is no louder than the lower-pitched tone. A twist value of 4 dB means the higher-pitched tone is 4 dB louder than the lower-pitched tone. 
  
Adapted by Steven Jones  03 October 2004
+
<hr>
  
 
+
<font color="#FF6600">'''Risset Bell''' </font>(rbell.ny) {{external|[http://audacity.sourceforge.net/nyquist/rbell.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/rbell.zip Download]}}
  
Simulates a realistic bell tone based on the pioneering work of Jean Claude
+
Author: Steven Jones. 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.
  
Risset. This plug in is an adaptation of a demonstration lisp file by Pedro
+
<hr>
  
Jose Morales contained in the standard Nyquist distributionThe only
+
<font color="#FF6600">'''Rndtone''' </font>(rndtone.ny) {{external|[http://audacity.sourceforge.net/nyquist/rndtone.ny View]}} | {{external|[http://audacity.sourceforge.net/nyquist/rndtone.zip Download]}}
  
parameters are MIDI key number and decay time.  
+
Author: Steven Jones. Generates random sine waves. The generated tones have random frequencies, attack and decay times.  
  
  <hr>
+
Parameters:
  
<b>Risset Drum</b> |
+
#'''Total duration:''' in seconds
 +
#'''Number of tones generated'''
 +
#'''Floor:''' Minimum frequency in Hz
 +
#'''Ceiling:''' Maximum frequency in Hz
  
{{external|1=[http://audacity.sourceforge.net/nyquist/risset.ny View risset.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/risset.zip Download risset.zip]}}
+
  <hr>
  
 
+
<font color="#FF6600">'''SQ1''' </font>(sq1.ny) {{external|[http://audacity.sourceforge.net/nyquist/sq1.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/sq1.zip Download]}}
 +
 +
Author: Steven Jones. Algorithmic sequencer number 1. The sq1 sequencer generates complex sequences of tones by using the sum of three square-wave low frequency oscillators 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.
  
Risset Drum generator
+
Parameters:
  
 
+
#'''Center:''' The unmodulated carrier frequency in Hz
 +
#'''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
 +
#'''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
  
The Risset-drum is based on the pioneering work of Jean Claude Risset in
+
The three LFOs are interchangeable. Note that the LFO amplitudes are calibrated in Hz indicating the corresponding frequency shift in the audio oscillators.
  
the mid 1960's. It produces a realistic drum sound consisting of three
 
  
components; a sine wave ring-modulated by narrow band noise, an
+
  <hr>
  
enharmonic tone, and a relatively strong sine wave at the fundamental.  
+
<font color="#FF6600">'''Surf-lfo''' </font>(surf-lfo.ny) {{external|[http://audacity.sourceforge.net/nyquist/surf-lfo.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/surf-lfo.zip Download]}} |
 +
{{external|[http://audacity.sourceforge.net/nyquist/surf-lfo1.mp3 MP3 example clip]}}
  
 
+
LFO Surf generator. A signal whose frequency is generally below the human ear's ability to hear as a tone, usually 20 cycles per second [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 new stereo track in Audacity. Do this by ALT, P, S in Audacity pre-1.3, or ALT, T, N, S in 1.3 and later. 
  
by Steven Jones
+
Parameters:
  
  <hr>
+
:1. '''Mono or stereo surf:''' [1=mono 2=stereo]
 +
:Mono surf is heard only in the center between the two speakers, or in the middle of your head when wearing headphones. Stereo surf sweeps back-and-forth somewhere between the two audio channels, depending on the next setting, Stereo Spread.
  
<b>RNDTONE</b> |
+
:2. '''Stereo spread:''' [stereo only: percent]
 +
: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 more in the right channel.
  
{{external|1=[http://audacity.sourceforge.net/nyquist/rndtone.ny View rndtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/rndtone.zip Download rndtone.zip]}}
+
:3. '''Fade-in and fade-out times:''' [seconds]
 +
:To smoothly fade in and fade out the volume at the start and end of the surf.
  
 
+
:4. '''Surf duration:''' [minutes] (up to 60)
  
rndtone generates random sine waves.<br>
+
:5. '''Surf type:'''  [0=white noise 1=pink noise]
 +
: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"
  
Author Steven Jones,   01 October 2004
+
:6. '''Surf sweep frequency:''' [Hz]
 +
:Sets how slow or fast the surf sweeps between the lower and upper filter frequencies, and the left and right channels [for stereo surf].
  
This software is released under the terms of the GNU public license.
+
:7. '''Lower filter frequency:''' [Hz]
 +
:8. '''Upper filter frequency:''' [Hz]
 +
:Both the above determine how low and how high the lowpass filter sweeps the surf noise.
  
 
+
:9. '''Bass frequency to boost:''' [Hz]
 +
:You can boost the volume of frequencies of the surf sound below this setting, to get a deeper-sounding surf. Somewhat equivalent to the bass knob on your stereo.
  
The generated tones have random frequencies, attack and decay times.  
+
:10. '''Bass boost :''' [dB]
 +
:Sets how much to boost the above bass frequency. 0 dB means no boost, 6 dB means double the amplitude of the bass frequency, and so on.
  
 
 
  
Parameters:
+
'''Note:'''
  
  <pre>dur      - Total duration in seconds
+
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.
  
n        - Number of tones generated.
 
  
floor   - Minimum frequency in Hertz
+
   <hr>
  
ceiling - Maximum frequency in Hertz
+
<font color="#FF6600">'''Surf-oxy''' </font>(surf-oxy.ny) {{external|[http://audacity.sourceforge.net/nyquist/surf-oxy.ny View]}} | {{external|[http://audacity.sourceforge.net/nyquist/surf-oxy.zip Download]}} |
 +
{{external|[http://audacity.sourceforge.net/nyquist/surf-oxy1.mp3 MP3 example clip]}} 
  
</pre>
+
Jean-Michel Jarre put out a hauntingly beautiful electronic album in 1976, Oxygene. 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.
  
  <hr>
+
Start a new session of Audacity. 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]".
  
<b>SQ1</b> |
+
Parameters:
  
{{external|1=[http://audacity.sourceforge.net/nyquist/sq1.ny View sq1.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/sq1.zip Download sq1.zip]}}
+
:1. '''Surf output:''' [1=mono 2=stereo]
 +
:To generate mono or stereo Oxygene surf.
  
 
+
:2. '''Stereo spread:''' [stereo only - percent]
 +
: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.
  
sq1 "algorithmic sequencer number 1"<br>
+
:3. '''Fade-in and fade-out times:''' [seconds]
 +
: Time to fade in and fade out the volume at the start and end of the surf, if you wish.
  
Author Steven Jones, 30 September 2004<br>
+
:4. '''Number of Oxygene surf cycles:'''
 +
:How many Oxygene surf cycles to generate.
  
This software is released under the terms of the GNU public license.
+
:5. '''Surf type:''' [0=white noise 1=pink noise]
 +
:White noise is a higher-frequency "hissing", whereas pink noise is a lower-frequency "rushing" sound.
  
 
+
:6. '''Sweep starting filter frequency:''' [Hz]
 +
:7. '''Sweep ending filter frequency:''' [Hz]
 +
:The above two parameters 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.
  
The sq1 sequencer generates complex sequences of tones by using the sum of
+
:8. '''Sweep duration:''' [seconds]
 +
:This sets how slow or fast the sweep portion of Oxygene surf takes.
  
three square wave LFOs to frequency modulate two oscillators. The oscillators
+
:9. '''Post-sweep silence duration:''' [seconds]
 +
:Duration of the silence after the sweep.
  
output one of four waves (sine, tri, square and saw) and may be detuned
+
:10. '''Crash filter frequency:''' [Hz]
 +
:The lowpass filter frequency of the crash.
  
relative to each other. The wave tables are not band limited so aliasing
+
:11. '''Crash bass frequency boost:''' [dB]
 +
:How much to increase the volume of the above filter frequency and below. 0 dB means no boost, 6 dB means double the amplitude of this bass frequency, and so on.
  
will result for sufficiently high frequencies. There is also an overall three
+
:12. '''Post-crash silence duration:''' [seconds]
 +
:How much silence before the Oxygene surf cycle repeats.
  
stage amplitude envelope.
 
  
 
+
'''Notes:'''
 +
#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.
 +
#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.
  
<pre>Parameters:
 
  
center - The unmodulated carrier frequency in Hertz.
+
  <hr>
  
detune - The frequency of oscillator 2 relative to oscillator 1
+
<font color="#FF6600">'''Tuning Fork''' </font>(tuning.ny) {{external|[http://audacity.sourceforge.net/nyquist/tuning.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/tuning.zip Download]}}
 +
{{external|[http://audacity.sourceforge.net/nyquist/tuningfork1.mp3 MP3 example clip]]}}
  
wave - The wave selector. 0=sine, 1=tri, 2=square, 3=saw
+
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).
  
          Both oscillators produce the same wave-shape.
+
Parameters:
  
attack - Attack time in seconds.
+
:1. '''Tone duration:''' up to 120 seconds.
 +
:2. '''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.
 +
:3. '''MIDI or frequency:''' (0=MIDI 1=frequency, default=0 MIDI)
 +
:Choose whether to generate a MIDI note number or frequency. Middle C=MIDI note 60, A440=MIDI note 69.
 +
:4. '''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)
 +
:5. '''Frequency:'''
 +
:If you have chosen to generate a frequency, enter the frequency here.
  
sustain - Sustain time in seconds
 
  
decay  - Decay time in seconds
+
  <hr>
  
f1 - Frequency of LFO 1 in hertz
+
<b>Variable Duration Silence generator</b> |
  
a1 - Amplitude of LFO 1
+
{{external|1=[http://audacity.sourceforge.net/nyquist/varsilence.ny View varsilence.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/varsilence.zip Download varsilence.zip]}}
  
f2      - Frequency of LFO 2
+
 
  
a2      - Amplitude of LFO 2
+
Variable Duration Silence Generator
  
f3 - Frequency of LFO 3
+
 
  
a3 - Amplitude of LFO 3
+
This plug-in will generate any length of silence from 0.000 to
  
</pre>
+
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
  
The three LFOs are interchangeable. Note that the LFO amplitudes are
+
to repeat the audio for a rhythmic effect.
  
calibrated in Hertz indicating the corresponding frequency shift in the audio
+
 
  
oscillators.  
+
there are two edit fields: one for thousandths (1/1000) of a second (0.000
  
  <hr>
+
to 0.999 seconds), and the other for whole seconds (0 to 60), for 0.000 to
  
<b>Surf </b> |
+
60.999 seconds.
  
{{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]}}
+
 
  
 
+
Copy the file into your audacity plug-ins folder. Next time you
  
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/surf-lfo1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
+
open Audacity, Variable Duration Silence Generator will be in the
  
surf-lfo.ny: LFO Surf generator
+
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]}}
  
LFO: low frequency oscillator. A signal whose frequency is
+
 
  
 +
Ten-band EQ. Select the band number (1 to 10) and select gain (-24 to +24 db).
  
 +
 
  
below the human ear's ability to hear as a tone,
+
Written by David R. Sky
  
  
  
generally below 20 cycles per second [Hertz or hz].
+
  <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>
  
Generates mono or stereo surf which sweeps between a lower and
+
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: 
  
upper filter frequency. Stereo surf also sweeps back-and-forth
+
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
  
  
somewhere between the left and right audio channels.
 
  
 +
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
  
 +
 
  
To generate stereo surf, first open a blank stereo track [alt+p, s
+
If you have digitized a cassette and want to amplify or attenuate
  
 +
one channel only, this plug-in will do it.
  
 +
 
  
in Audacity pre-1.3, alt+t, n, s in 1.3 and later]. Open the
+
Variables
  
 +
 
  
 +
1. Channel selector: 0=left channel, 1=right channel (default
  
generate menu. Click on 'Surf [LFO]'.
+
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.
  
Variables with instructions:
+
 
 
 
  
 +
Written by David R. Sky
  
 
    
 
    
  
 +
  <hr>
  
 +
<b>Bouncing ball delay with panning</b> |
  
1. Mono or stereo surf [1=mono 2=stereo]<br>
+
{{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
  
Mono surf is heard only in the center between the two speakers, or
+
  <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]}}
  
in the middle of your head when wearing headphones. Stereo surf
+
 
  
 +
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
  
also sweeps back-and-forth somewhere between the two audio
+
 
  
 +
Combines the bouncing Ball Delay and Delay with Tone Shift plug-
  
 +
ins. A delay effect in which the echos get faster, like a bouncing
  
channels, depending on the next setting, Stereo Spread.
+
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
  
2. Stereo spread [stereo only: percent]<br>
+
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.
  
The larger this value, the more widely the stereo surf will move
+
 
  
 +
Written by David R. Sky
  
 +
 
  
back-and-forth between the left and right audio channels.
+
  <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]}}
  
When this value is above zero, the deeper section of the surf sweep
+
 
  
 +
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
  
will be heard more in the left channel; below zero, the deeper
+
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.
  
section of the surf sweep will be heard mor in the right channel.
+
 
  
 +
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]}}
  
 +
 
  
3. Fade-in and fade-out times [seconds]<br>
+
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
  
To smoothly fade in and fade out the volume at the start and end of
+
is left and right channels flipped with each other.
  
 +
 
  
 +
Select which value to start at and which value to finish at. The
  
the surf.
+
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.
  
 +
 
  
4. Surf duration [minutes]<br>
+
Written by David R. Sky
  
  
  
Up to sixty minutes of LFO surf.
+
  <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)
  
 +
 
  
5. Surf type [0=white noise 1=pink noise]<br>
+
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
  
White noise is more of a 'hissing' sound, whereas pink noise is a
+
channels (-1... the butterfly's flipped!). And also anywhere
  
 +
between the extremes from -1 to 1.
  
 +
 
  
lower 'rushing' sound.
+
Written by David R. Sky
  
 +
  <hr>
  
 +
<b>Center Pan Remover</b> |
  
Technically, white noise is 'equal energy per frequency', whereas
+
{{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)
pink noise is 'equal energy per octave'.
 
  
  
Line 465: Line 583:
  
  
6. Surf sweep frequency [hz]<br>
+
For removing vocals which are panned to center, you can invert one
  
  
  
Sets how slow or fast the surf sweeps between the lower and upper
+
channel then pan both channels to center. Audio which is common to
  
  
  
filter frequencies, and the left and right channels [for stereo
+
both channels then disappears. this often removes other audio such
  
  
  
surf].
+
as drums, which are also often panned to center.
  
  
Line 485: Line 603:
  
  
The next two variables<br>
+
With centerpanremover.ny, you can select whether to invert one
  
  
  
7. Lower filter frequency [hz]<br>
+
channel, or to invert a range of frequencies in one channel, before
  
  
  
8. Upper filter frequency [hz]<br>
+
panning both channels to center.
  
  
  
determine how low and how high the lowpass filter sweeps the surf
+
 
  
  
  
noise.
+
Variables
  
  
Line 509: Line 627:
  
  
9. Bass frequency to boost [hz]<br>
+
1. Select whether to invert one channel or a band of frequencies.
  
  
  
You can boost [increase the volume of] frequencies of the surf
+
 
  
  
  
sound below this setting, to get a deeper-sounding surf. Somewhat
+
2. If frequency band is selected, "remove frequencies above..." is
  
  
  
analogous to the bass knob on your stereo.
+
default 500Hz.
  
  
Line 529: Line 647:
  
  
10. Bass boost [db]<br>
+
3. If frequency band is selected, "remove frequencies below..." is
  
  
  
Sets how much to boost the above bass frequency. 0db means no
+
default 2000Hz.  
  
  
  
boost, 6db means double the amplitude of the bass frequency, and so
+
 
  
  
  
on.
+
In other words, with the default settings, a two-octave range from
  
  
  
 
+
500Hz to 2000Hz (2 kilohertz) is removed.
  
  
  
<i>Note</i>
+
 
  
  
  
 
+
Audio that isn't exactly panned to center is louder in one channel
  
  
  
If you get an error message 'Nyquist returned too many audio
+
than in the other. Thus, the further from the center pan position,
  
  
  
channels', this means you tried to generate stereo surf without
+
the louder that audio will be in the result.
  
  
  
first having opened a blank stereo track in audacity. See
+
 
  
  
  
instructions at the start of this help file for instructions on how
+
Written by David R. Sky November 12, 2004<br>
  
  
  
to do this.
+
Released under terms of the GNU Public License<br>
  
  
  
 
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
  
  
Written by David R. Sky, June 17, 2007.<br>
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
  
  
{{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>
 
  
 +
  <hr>
  
 +
<b>Chimes delay </b> |
  
Released under terms of the GNU Public License<br>
+
{{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; 
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php 
+
* chimesdelay.ny: Chimes Delay
  
  
  
http://www.opensource.org/licenses/gpl-license.php]}}
+
(Version 2 plug-in, works in Audacity 1.2.3 and later)
  
  
Line 613: Line 733:
  
  
  <hr>
+
1. Adds random delay to your audio. You can specify the maximum
 +
 
  
<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]}}
+
delay of the random delays (default 10 seconds, maximum 120
  
 
 
  
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
+
seconds) and how many random delays within that max delay time
  
  
  
 
+
(default 20 delays, maximum 100).
  
  
  
Jean-Michel Jarre put out a hauntingly beautiful electronic album
+
 
  
  
  
in 1976, <i>Oxygene</i>. One section of this album had a repeating
+
2. Using the minimum volume field, you can specify the lowest
  
  
  
surf sound: a sweep from the right to the left audio channel, a
+
random volume that each random delay can have (default is 50
  
  
  
pause, and then a deep crash in the right channel. After another
+
percent, range between 0 and 100 percent).
  
  
  
pause, this cycle repeated many times. Very relaxing to listen to.
+
 
  
  
  
 
+
3. This plug-in also randomly changes the pitch of each random
  
  
  
This sound generator plug-in emulates that surf cycle, in either
+
delay. You can specify a note list (which is where the name 'Chimes
  
  
  
mono or stereo.
+
Delay' comes from). the following is the default note list:
  
  
Line 667: Line 785:
  
  
To generate stereo surf, first open a blank stereo track [alt+p, s
+
-24 -12 -5 0 4 7 12 14 19
  
  
  
in Audacity pre-1.3, alt+t, n, s in 1.3 and later]. Open the
+
 
  
  
  
generate menu. Click on
+
Each number indicates how many semitones your audio could be pitch
  
  
  
'Surf [Oxygene]'.  
+
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
  
  
  
Variables:
+
that C note).
  
  
Line 695: Line 817:
  
  
1. Surf output [1=mono 2=stereo]<br>
+
If the audio you have loaded into Audacity is C3, the above note
  
  
  
To generate mono or stereo Oxygene surf.
+
list would produce the following notes randomly:
  
  
Line 707: Line 829:
  
  
2. Stereo spread [stereo only - percent]<br>
+
C1 C2 G2 C3 E3 G3 C4 D4 G4
  
  
  
If you've chosen to generate stereo Oxygene surf, this setting will
+
 
  
  
  
determine how widely the surf sweeps away from the center pan
+
A distinctly major-sounding scale.
  
  
  
position. From +100 percent to -100 percent. Positive values make
+
 
  
  
  
the sweep section go from the right to the left, with the crash in
+
If you have a note list specified, this plug-in will randomly
  
  
  
the right. Negative values reverse this pattern.
+
choose from that list of notes for pitch and tempo shifting of each
  
  
  
 
+
random delay.
  
  
  
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
+
4. However, you can delete this note list, in which case a list of
  
  
  
surf, if you wish.
+
notes will be generated between a lower and upper number. The
  
  
  
 
+
default values of these two numbers are -12 semitones (decrease of
  
  
  
4. Number of Oxygene surf cycles<br>
+
1 octave) and +24 semitones (increase of 2 octaves), respectively.  
  
  
  
How many Oxygene surf cycles to generate.
+
 
  
  
  
 
+
5. If your audio is in stereo, each random delay with random volume
  
  
  
5. Surf type [0=white noise 1=pink noise]<br>
+
and random pitch change will also be randomly panned anywhere
  
  
  
White noise is a higher-frequency 'hissing', whereas pink noise is
+
between left and right. (It is best that your audio is first panned
  
  
  
a lower-frequency 'rushing' sound.
+
to center before applying Chimes Delay.)
  
  
Line 779: Line 901:
  
  
The following two settings<br>
+
6. Additional notes:
  
  
  
6. Sweep starting filter frequency [hz]<br>
+
 
  
  
  
7. Sweep ending filter frequency [hz]<br>
+
Adding a bit of regular delay and/or other effects before applying
  
  
  
set the starting and ending frequencies for the lowpass filter to
+
Chimes Delay results in a richer sound.
  
  
  
sweep the sweep portion of Oxygene surf. [A lowpass filter allows
+
 
  
  
  
frequencies below a certain value to pass, while frequencies above
+
If you want a particular note (from the note list) to be repeated
  
  
  
that value are attenuated, or reduced in volume.]
+
more often, you can enter it more than once in the list.
  
  
Line 811: Line 933:
  
  
8. Sweep duration [seconds]<br>
+
If you simply want your audio randomly delayed with no multiple
  
  
  
This sets how slow or fast the sweep portion of Oxygene surf takes.
+
pitch changes, either enter just one number into the note list, or
  
  
  
 
+
enter the same number into the min and max notes fields.
 
 
 
 
 
 
9. Post-sweep silence duration [seconds]<br>
 
 
 
 
 
 
 
Duration of the silence after the sweep.
 
  
  
Line 835: Line 949:
  
  
10. Crash filter frequency [hz]<br>
+
If you want no random amplitude changes, make the amplitude field
  
  
  
The lowpass filter frequency of the crash.  
+
100 percent.
  
  
Line 847: Line 961:
  
  
11. Crash bass frequency boost [db]<br>
+
It is possible that total length of your resulting audio will be
  
  
  
How much to increase the volume of the above filter frequency and
+
max delay _plus_ duration of your original audio. This may be still
  
  
  
below. 0db means no boost, 6db means double the amplitude of this
+
longer if the final delay(s) is/are decreased in pitch (resulting
  
  
  
bass frequency, and so on.
+
in a reduced tempo).
  
  
Line 867: Line 981:
  
  
12. Crash duration [seconds]<br>
+
If your original audio is non-musical, chimesdelay.ny will not make
  
  
  
Duration of the crash.
+
it musical.
  
  
Line 879: Line 993:
  
  
12. Post-crash silence duration [seconds]<br>
+
Many thanks to Steven Jones! - his cool 'Harmonic Noise' generator
  
  
  
how much silence before the Oxygene surf cycle repeats.
+
plug-in is the source for Nyquist code to handle a string-input
  
  
  
 
+
note list. Thanks Steven for additional list help as well.
 
 
 
 
 
 
Notes
 
  
  
Line 899: Line 1,009:
  
  
1. If you get an error message 'Nyquist returned too many audio
+
Written by David R. Sky, January 30, 2005<br>
  
  
  
channels', this means you tried to generate stereo surf without
+
Released under terms of the GNU Public License<br>
  
  
  
having first opened a blank stereo track in Audacity. See
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
  
  
instructions at the top of this help file on how to do this.
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
  
Line 919: Line 1,029:
  
  
2. In the original _Oxygene_, reverb was applied to the surf,
+
  <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]}}
  
giving it a more expansive sound and feeling. If you want to have
+
 
  
 +
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
  
reverb added to Oxygene surf, you need to apply it yourself after
+
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
  
the surf sound has been generated. There's 'Gverb' already in the
+
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.
  
Audacity effects menu, and many people use Anwida's free VST reverb
+
 
  
 +
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
  
plug-in.
+
result, so it does sound somewhat different.
 
 
 
 
  
 
    
 
    
  
 +
Written by David R. Sky
  
 +
  <hr>
  
3. Seagulls not included.
+
<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, June 20, 2007.<br>
 
  
 +
Written by David R. Sky
  
 +
  <hr>
  
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
+
<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]}}
  
 +
 
  
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
+
Dual Tape Decks effect
  
 +
 
  
 +
This plug-in was written to duplicate an effect I heard in the late
  
Thanks to Steven Jones for pink noise Nyquist code.<br>
+
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.
  
Released under terms of the GNU Public License<br>
+
This plug-in allows the "whooshing" to go back and forth. Different
  
 +
effects are made using mono-sounding vs. "true" stereo audio.
  
 +
 
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
+
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
  
http://www.opensource.org/licenses/gpl-license.php ]}}
+
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)
  
  <hr>
+
with a spread value of zero (sounds mono after applying), then
  
<b>Touch Tones </b> |
+
applying dualtapedecks.ny a second time with the same settings as the
  
{{external|1=[http://audacity.sourceforge.net/nyquist/touchtone.ny View touchtone.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/touchtone.zip Download touchtone.zip]}}
+
first time.
  
 
    
 
    
  
Touch Tones (TM) generator - produce telephone tones in Audacity.
+
This plug-in will work on mono audio as well, but the only effect
  
Length of tone and appended silence are definable, plus 'twist' - the
+
will be rising and falling changes in pitch and tempo.
  
ratio of the high to low tones (in db). Twisted telephony jargon.
+
 
  
 
Written by David R. Sky
 
Written by David R. Sky
Line 1,005: Line 1,139:
 
   <hr>  
 
   <hr>  
  
<b>Tuning Fork</b> |  
+
<b>Selection Duration </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]}}
+
  {{external|1=[http://audacity.sourceforge.net/nyquist/duration.ny View duration.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/duration.zip Download duration.zip]}}
  
 
    
 
    
  
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/tuningfork1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
+
* Selection Duration (Version 2 plug-in)
 
 
* tuningfork.ny: Tuning Fork
 
  
  
Line 1,021: Line 1,153:
  
  
In preparing to do some vocal work with Audacity, I realized I
+
Once copied into your Audacity plug-ins folder, this plug-in
  
  
  
wanted a software tuning fork.
+
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
  
  
  
After you have copied tuningfork.ny into your Audacity plug-ins
+
reader (rather than trying to decipher those numbers on the
  
  
  
folder and restarted Audacity, Tuning Fork is in the generate menu.
+
screen).
  
  
  
After you click on it, a brief table outlining C notes and their
+
 
  
  
  
equivalent MIDI note numbers appears near the top of the screen.
+
If you have opened or imported more than one track and have not yet
  
  
  
C0=0 C1=12 C2=24 and so on.
+
done a Quick Mix, this plug-in sequentially gives the duration of
  
  
  
 
+
each track you loaded into Audacity. Simply press &lt;enter&gt;
  
  
  
Variables:
+
after each track duration is given. The final screen gives
  
  
  
 
+
information from Nyquist, which you can ignore. Simply press
  
  
  
Tone duration: up to 120 seconds.
+
&lt;enter&gt; to get to the regular Audacity screen.
  
  
Line 1,073: Line 1,205:
  
  
Constant or fade out (0=constant 1=fade out, default=0 constant):
+
This is a Nyquist Version 2 plug-in which works in Audacity 1.2.3
  
  
  
Choose whether you want the tone to remain at constant volume or
+
and later.
  
  
  
fade out during the duration.
+
 
  
  
  
 
+
Written by David R. Sky with Nyquist pointers from Steven Jones and
  
  
  
MIDI or frequency (0=MIDI 1=frequency, default=0 MIDI):
+
Dominic Mazzoni.
  
  
  
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
 
  
  
 +
  <hr>
  
note number here. Note that you can use non-integers here (such as
+
<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]}}
  
 +
 
  
60.75)
+
equalabl.ny: Regular interval labels [analyze menu plug-in]
  
  
Line 1,121: Line 1,253:
  
  
Frequency: If you have chosen to generate a frequency, enter the
+
thanks to Sami Jumppanen from the Audacity users group for
  
  
  
frequency here.
+
suggesting this plug-in: adding labels to the label track at
  
  
  
 
+
regular intervals. Thanks to leland Lucius from the Audacity
  
  
  
Written by David R. Sky
+
development list for code feedback which helped wake me from late
  
  
  
 
+
night programming! And thanks to Gale Andrews from the Audacity
  
  
  
  <hr>
+
development list for suggesting improvements.
  
<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
+
<i>Warning! Using this plug-in will delete any label track you had
  
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.
+
in your loaded audio. If you accidentally use this plug-in and want
  
 
 
  
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
+
to restore your previous label track, simply press control+z
  
60.999 seconds.
 
  
 
 
  
Copy the file into your audacity plug-ins folder. Next time you
+
once.</i>
  
open Audacity, Variable Duration Silence Generator will be in the
 
  
generate menu.
 
  
 
    
 
    
  
Written by David R. Sky
 
  
  <hr>
 
  
 
+
After you've copied equalabl.ny into your Audacity plug-ins folder,
  
<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]}}
 
  
 
+
start a new session of audacity. Load audio you want to add
  
Ten-band EQ. Select the band number (1 to 10) and select gain (-24 to +24 db).
 
  
 
 
  
Written by David R. Sky
+
regularly-spaced labels to. Select audio [control+a]. Open analyze
 +
 
  
  
 +
menu [alt+a]. Click on 'Regular interval labels'. use or change the
  
  <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]}}
+
following five default variablees:
  
 
 
  
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: 
+
1. Label interval [seconds]<br>
  
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
 
  
 +
Default sixty seconds between labels, from one second to six
  
  
by Josu Etxeberria and David Sky
 
  
  <hr>
+
hundred seconds [ten minutes].
  
<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
+
2. Label text<br>
  
one channel only, this plug-in will do it.
 
  
 
 
  
Variables
+
The text that will appear in each label, default is "label".
  
 
 
  
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).
 
  
 
+
3. Prepend numbers to label text [0=no 1=yes]<br>
  
Written specifically for people who use a screen reader, and people
 
  
who prefer to use the keyboard over a mouse.
 
  
 
+
Default is yes, so your labels would sequentially be "0label
  
Written by David R. Sky
 
  
 
 
  
  <hr>
+
1label..." and so on, using the default text.
  
<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> |
+
4. Final label [0=exclude 1=include]<br>
  
{{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; 
+
For example, if your selection is sixty seconds long, and your
  
* Bouncing Ball Delay with Tone Shift
 
  
 
 
  
Combines the bouncing Ball Delay and Delay with Tone Shift plug-
+
label interval is ten seconds, the final label would be at the
  
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)).
+
exact end of your selection. By default, the above variable is to
  
 
 
  
The value for the decay amount (in db) for an increasing pitch can
 
  
be left at the default 0. However, with decreasing pitch, the
+
exclude [not set] the final label.
  
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>  
+
5. Final audio segment duration equal with others [0=no 1=yes] <br>
 +
 
 +
 
  
<b>Bouncing Ball Delay</b> |
+
Your label interval setting may result in the final segment of
  
{{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
+
audio being unequal with the preceding ones. By default, the above
  
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
+
variable is set to make the final audio segment equal in duration
  
how much in db the sound decreases with each bounce.
 
  
 
 
  
Written by David R. Sky
+
with the preceding ones. This might make the label interval
  
  <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]}}
+
slightly different from your chosen one, depending on the size of
  
 
 
  
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
+
the final audio segment.
  
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
+
<i>Note</i>
 +
 
  
stereo as the selection progresses.
 
  
 
    
 
    
  
Start and finish values may lie anywhere between -1 and +1.
 
  
 
 
  
Written by David R. Sky
+
People using a screen reader can view the label track in Audacity
  
  
  
  <hr>
+
1.3.3 beta by opening the track menu [alt+t] and clicking on 'edit
 +
 
  
<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]}}
+
labels'. The labels and their time positions can be read by
  
 
 
  
Stereo Butterfly (static)
 
  
 
+
cursoring up and down and left-right. press alt+f4 to return to the
  
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
+
main Audacity screen.
  
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> |
+
Written by David R. Sky.<br>
  
{{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)
+
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
  
  
  
 
+
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
  
  
  
For removing vocals which are panned to center, you can invert one
+
released to the Audacity community  June 25, 2007.<br>
  
  
  
channel then pan both channels to center. Audio which is common to
+
Thanks to Alex S. Brown for example code from his silencemarker.ny
  
  
  
both channels then disappears. this often removes other audio such
+
plug-in for placing labels on the label track.<br>
  
  
  
as drums, which are also often panned to center.
+
Released under terms of the GNU Public License<br>
  
  
  
 
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php 
  
  
  
With centerpanremover.ny, you can select whether to invert one
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
  
  
channel, or to invert a range of frequencies in one channel, before
+
 
  
  
  
panning both channels to center.
+
  <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)
 
 
Variables
 
  
  
Line 1,461: Line 1,513:
  
  
1. Select whether to invert one channel or a band of frequencies.
+
Select all your audio, then use this plug-in to set the start and
  
  
  
 
+
end margins using percentages. Start and end margins are anywhere
  
  
  
2. If frequency band is selected, "remove frequencies above..." is
+
from 0 to 100 percent.
  
  
  
default 500Hz.
+
 
  
  
  
 
+
If for example your audio is ten seconds long, you set the start at
  
  
  
3. If frequency band is selected, "remove frequencies below..." is
+
0 percent and the end at 50 percent, the result will be the first
  
  
  
default 2000Hz.  
+
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
  
  
  
In other words, with the default settings, a two-octave range from
+
original selected audio.
  
  
  
500Hz to 2000Hz (2 kilohertz) is removed.
+
 
  
  
  
 
+
If you do not like the extracted audio margins, you can undo the
  
  
  
Audio that isn't exactly panned to center is louder in one channel
+
result and apply with slightly different settings. Or you can re-
  
  
  
than in the other. Thus, the further from the center pan position,
+
apply for shrinking the audio further. Great for people who do not
  
  
  
the louder that audio will be in the result.
+
want to fiddle around with the cursor keys for selecting audio.
  
  
Line 1,521: Line 1,573:
  
  
Written by David R. Sky November 12, 2004<br>
+
Beware! Audio outside the start and end percent margins will be
  
  
  
Released under terms of the GNU Public License<br>
+
discarded! A plug-in for re-inserting the (altered) extracted audio
  
  
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
+
into the discarded audio is in the works.
  
  
  
http://www.opensource.org/licenses/gpl-license.php]}}
+
 
  
  
  
 
+
Written by David R. Sky
 
 
  
  
  
 +
 
  
  
Line 1,547: Line 1,599:
 
   <hr>  
 
   <hr>  
  
<b>Chimes delay </b> |  
+
<b>Fade In and Out</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]}}
+
  {{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]}}
  
 
    
 
    
  
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; 
+
* Fade In and Out (Version 2 plug-in)
 +
 
 +
 
  
* chimesdelay.ny: Chimes Delay
+
 
  
  
  
(Version 2 plug-in, works in Audacity 1.2.3 and later)
+
Define fade-in and fade-out times, in seconds. Saves fiddling
  
  
  
 
+
around with the mouse or keyboard.
  
  
  
1. Adds random delay to your audio. You can specify the maximum
+
 
  
  
  
delay of the random delays (default 10 seconds, maximum 120
+
Written by David R. Sky
  
  
  
seconds) and how many random delays within that max delay time
+
 
  
  
  
(default 20 delays, maximum 100).
+
  <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
  
  
2. Using the minimum volume field, you can specify the lowest
 
  
 +
 
  
  
random volume that each random delay can have (default is 50
 
  
 +
This is a stereo delay effect: with each delay, the stereo channels
  
  
percent, range between 0 and 100 percent).
 
  
 +
are flipped left-right and vice versa. Inspired by a sound effect
  
  
 
+
 
 +
heard in the opening track of Mike Oldfield's "songs From Distant
  
  
  
3. This plug-in also randomly changes the pitch of each random
+
Earth."
  
  
  
delay. You can specify a note list (which is where the name 'Chimes
+
 
  
  
  
Delay' comes from). the following is the default note list:
+
Variables:
  
  
Line 1,619: Line 1,677:
  
  
-24 -12 -5 0 4 7 12 14 19
+
decay: the drop in volume (db) with each delay (default 3.0);
  
  
Line 1,627: Line 1,685:
  
  
Each number indicates how many semitones your audio could be pitch
+
delay time: default 0.5 seconds;
 +
 
 +
 
 +
 
 +
 
  
  
  
shifted (along with matching tempo shift). For example, 0 indicates
+
number of delays, including the original audio: default 10.
  
  
  
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
+
Thanks to Steven Jones for illustrating how to check for even/odd
  
  
  
that C note).
+
numbers.
  
  
Line 1,651: Line 1,713:
  
  
If the audio you have loaded into Audacity is C3, the above note
+
Written by David R. Sky December 2, 2004<br>
  
  
  
list would produce the following notes randomly:
+
Released under terms of the GNU Public License
  
  
  
 
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
  
  
C1 C2 G2 C3 E3 G3 C4 D4 G4
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
  
Line 1,671: Line 1,733:
  
  
A distinctly major-sounding scale.
+
  <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
  
 +
 
  
If you have a note list specified, this plug-in will randomly
+
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
  
choose from that list of notes for pitch and tempo shifting of each
+
off the lower frequencies.) works on mono and stereo audio.
  
 +
 
  
 +
Applied to white noise, this filter and the low pass filter with Q
  
random delay.
+
can be used to
 
 
  
 +
produce wind-like sounds, but only at a constant frequency.
  
 
    
 
    
  
 +
By David R. Sky
  
 +
  <hr>
  
4. However, you can delete this note list, in which case a list of
+
<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]}}
  
 +
 
  
notes will be generated between a lower and upper number. The
+
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/hpdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
  
 +
High-pass Delay
  
 +
 
  
default values of these two numbers are -12 semitones (decrease of
+
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
  
1 octave) and +24 semitones (increase of 2 octaves), respectively.
+
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.
  
5. If your audio is in stereo, each random delay with random volume
+
 
  
 +
Written by David R. Sky
  
  
and random pitch change will also be randomly panned anywhere
 
  
 +
  <hr>
  
 +
<b>Hyperexp</b> |
  
between left and right. (It is best that your audio is first panned
+
{{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
  
to center before applying Chimes Delay.)
+
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.
  
6. Additional notes:
+
  <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
  
Adding a bit of regular delay and/or other effects before applying
+
 
  
 +
Similar to the LFO Low pass Filter, except a low frequency
  
 +
oscillator moves the cutoff frequency of a highpass filter up and
  
Chimes Delay results in a richer sound.
+
down.
  
 +
 
  
 +
Variables
  
 
    
 
    
  
 +
1. Center cutoff frequency, in Hz (default 640Hz).<br>
  
 +
2. LFO depth: how far above and below the center frequency the LFO
  
If you want a particular note (from the note list) to be repeated
+
sweeps the filter (in octaves, default 1.0).<br>
  
 +
3. LFO frequency: speed of up and down sweeping (default
  
 +
0.2Hz).<br>
  
more often, you can enter it more than once in the list.
+
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>
  
If you simply want your audio randomly delayed with no multiple
+
lfolp2.mp3: 640Hz center frequency, 5 octave depth, 5Hz LFO,
  
 +
applied 3 times to voice.
  
 +
 
  
pitch changes, either enter just one number into the note list, or
+
written by David R. Sky
  
 +
 
  
 +
  <hr>
  
enter the same number into the min and max notes fields.
+
<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
If you want no random amplitude changes, make the amplitude field
 
 
 
 
 
 
 
100 percent.
 
  
  
Line 1,795: Line 1,897:
  
  
It is possible that total length of your resulting audio will be
+
Like on an electronic music synthesizer, a low frequency oscillator
  
  
  
max delay _plus_ duration of your original audio. This may be still
+
moves the cutoff frequency of a lowpass filter up and down.  
  
  
  
longer if the final delay(s) is/are decreased in pitch (resulting
+
 
  
  
  
in a reduced tempo).
+
Variables
  
  
Line 1,815: Line 1,917:
  
  
If your original audio is non-musical, chimesdelay.ny will not make
+
1. Center cutoff frequency, in Hz (default 640Hz).<br>
  
  
  
it musical.
+
2. LFO depth: how far above and below the center frequency the LFO
  
  
  
 
+
sweeps the filter (in octaves, default 1.0).<br>
  
  
  
Many thanks to Steven Jones! - his cool 'Harmonic Noise' generator
+
3. LFO frequency: speed of up and down sweeping (default
  
  
  
plug-in is the source for Nyquist code to handle a string-input
+
0.2Hz).<br>
  
  
  
note list. Thanks Steven for additional list help as well.
+
4. LFO starting phase: in degrees, from -180 to +180 (default 0).
  
  
Line 1,843: Line 1,945:
  
  
Written by David R. Sky, January 30, 2005<br>
+
Audio examples
  
  
  
Released under terms of the GNU Public License<br>
+
 
  
  
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
+
lfolp1.mp3, lfolp2.mp3, lfolp3.mp3: default settings, applied to
  
  
  
http://www.opensource.org/licenses/gpl-license.php]}}
+
white noise 1, 2 and 3 times, respectively.<br>
  
  
  
 
+
lfolp4.mp3: center frequency 640Hz, 2 octave depth, LFO 1.0Hz,
  
  
  
  <hr>
+
applied to 640Hz square wave.
  
<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
+
written by David R. Sky
 +
 
 +
 
  
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
+
  <hr>
  
resonance is increasingly produced as well.
+
<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]}}
  
A comb filter can be produced using flanger-like settings on a
+
  LFO panning - Panning controlled by a low frequency oscillator.
  
delay effect, but this filter does not use a delay to get the
+
Frequency of the oscillator and width of the stereo spread are
  
result, so it does sound somewhat different.
+
controllable by you. You must have the audio in stereo first,
  
 
+
preferably in the center for best results.
  
 
Written by David R. Sky
 
Written by David R. Sky
Line 1,901: Line 1,999:
 
   <hr>  
 
   <hr>  
  
<b>Customizable EQ</b> |  
+
<b>Low Pass Filter with Q</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]}}
+
  {{external|1=[http://audacity.sourceforge.net/nyquist/lowpass2.ny View lowpass2.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lowpass2.zip Download lowpass2.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).
+
Low Pass Filter with Q
  
 +
 
  
 +
A low pass filter with q, or resonance. the higher q is, the more
  
Written by David R. Sky
+
the cutoff frequency will resonate (produce a tone). (Low pass
  
  <hr>
+
filter allows frequencies below the cutoff frequency to pass, cuts
  
<b>Dual Tape Decks</b> |
+
off the higher frequencies.) Works on mono and stereo audio.
 
 
{{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
+
By David R. Sky
  
 
+
  <hr>
  
This plug-in was written to duplicate an effect I heard in the late
+
<b>Delay with low pass filter</b> |
  
1970s: I recorded then played identical audio on two mono tape
+
{{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay.ny View lpdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay.zip Download lpdelay.zip]}}
  
decks. There was an amazing "whooshing" effect as one tape deck
+
 
  
"caught up" with and passed what the other tape deck was playing.
+
Example audio clips:  {{external|1=[http://audacity.sourceforge.net/nyquist/lpdelay1.mp3 [MP3 Clip 1]]}}&nbsp;&nbsp; 
  
This plug-in allows the "whooshing" to go back and forth. Different
+
Low-pass delay
 
 
effects are made using mono-sounding vs. "true" stereo audio.
 
  
 
    
 
    
  
You can adjust the phase difference between the two decks (180
+
You can define delay time, how much each delay
  
degrees is the default), the starting phase of the effect (0
+
decreases in db (although this does not seem to be necessary, so
  
degrees is the default), LFO frequency and depth of the effect. The
+
the default value is 0 db), number of delays, the starting cutoff
  
larger depth is, the more pronounced the pitch and tempo shift
+
frequency of the low pass filter, and how much to decrease the
  
become until there is a noticeable warble.
+
cutoff frequency (in octaves) from there for each delay.
  
 
    
 
    
  
Neat stereo flanger-like effects can be made by (for example)
+
To me, this has the psychoacoustic effect of each delay sounding
  
applying dualtapedecks.ny to audio, applying Stereo Butterfly (static)
+
further and further away.
 
 
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
+
Based on an effect heard in a popular Cher tune in the late 1990s
  
will be rising and falling changes in pitch and tempo.
+
or later. Thanks for the idea Cher!
  
 
    
 
    
Line 1,971: Line 2,061:
 
Written by David R. Sky
 
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]}}
+
  <hr>
  
 
+
<b>Multiband EQ</b> |
  
* Selection Duration (Version 2 plug-in)
+
{{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
  
Once copied into your Audacity plug-ins folder, this plug-in
+
  <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]}}
  
utility appears in the analyze menu. It gives the duration of audio
+
 
  
 +
Loosely based on the Mutron stomp box from the late 70's. Basically it is an
  
 +
envelope follower controlled filter.
  
you have selected. A lot easier to use for people using a screen
+
 
  
 +
Center - sets un-modulated filter frequency.<br>
  
 +
Depth - sets filter modulation depth either negative or positive.<br>
  
reader (rather than trying to decipher those numbers on the
+
Band Width - Resonance control, lower values are more resonant.<br>
  
 +
Mode - There are four filters:<br>
  
 +
0 - Low pass<br>
  
screen).
+
1 - High pass<br>
  
 +
2 - Band Reject<br>
  
 +
3 - Band Pass<br>
  
 
    
 
    
  
 +
By Steven Jones
  
 +
  <hr>
  
If you have opened or imported more than one track and have not yet
+
<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]}}
  
 +
 
  
done a Quick Mix, this plug-in sequentially gives the duration of
+
Notch filter
  
 +
 
  
 +
Like its name suggests, a notch filter cuts out a "notch" in the
  
each track you loaded into Audacity. Simply press &lt;enter&gt;
+
spectrum of your audio. The default frequency is 60Hz, great for
  
 +
removing 60Hz electrical hum, in case your recording equipment has
  
 +
picked this up.
  
after each track duration is given. The final screen gives
+
 
  
 +
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
  
information from Nyquist, which you can ignore. Simply press
+
creates a narrower notch.
  
 +
 
  
 +
Works on mono and stereo audio.
  
&lt;enter&gt; to get to the regular Audacity screen.
+
 
  
 +
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]}}
  
 +
 
  
This is a Nyquist Version 2 plug-in which works in Audacity 1.2.3
+
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.
  
and later.
+
  <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
  
Written by David R. Sky with Nyquist pointers from Steven Jones and
+
 
  
 +
A delay plug-in except each delay is pitch shifted. Standard delay
  
 +
variables: decay (in db), delay time (in seconds), and number of
  
Dominic Mazzoni.
+
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
  
  <hr>
+
Audacity will be working a _long_ time. Same thing seems to happen
  
<b>Regular interval labels</b> |
+
if there is already pitch shifting within the audio. (This all may
  
{{external|1=[http://audacity.sourceforge.net/nyquist/equalabl.ny View equalabl.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/equalabl.zip Download equalabl.zip]}}
+
be simply my computer, which runs at 233MHz.)
  
 
    
 
    
  
equalabl.ny: Regular interval labels [analyze menu plug-in]
+
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
  
thanks to Sami Jumppanen from the Audacity users group for
+
else in the stereo field. Left to right, center to in-between left and
  
 +
center, where-ever you wish.
  
 +
Written by David R. Sky
  
suggesting this plug-in: adding labels to the label track at
+
  <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]}}
  
regular intervals. Thanks to leland Lucius from the Audacity
+
 
  
 +
Random amplitude modulation
  
 +
 
  
development list for code feedback which helped wake me from late
+
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
  
night programming! And thanks to Gale Andrews from the Audacity
+
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
  
development list for suggesting improvements.  
+
increase or decrease the amp effect.)
 
 
 
 
  
 
    
 
    
  
 +
By David R. Sky
  
 +
  <hr>
  
<i>Warning! Using this plug-in will delete any label track you had
+
<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]}}
  
 +
 
  
in your loaded audio. If you accidentally use this plug-in and want
+
Random Low pass Filter
  
 +
 
  
 +
Like someone is playing around with the cutoff frequency knob of
  
to restore your previous label track, simply press control+z
+
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.</i>
+
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
  
After you've copied equalabl.ny into your Audacity plug-ins folder,
+
wind are for another plug-in...
  
 +
 
  
 +
By David R. Sky
  
start a new session of audacity. Load audio you want to add
 
  
  
 +
  <hr>
  
regularly-spaced labels to. Select audio [control+a]. Open analyze
+
<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]}}
  
 +
 
  
menu [alt+a]. Click on 'Regular interval labels'. use or change the
+
Random Panning
  
 +
 
  
 +
Like someone is playing around with the panning knob. You can set
  
following five default variablees:
+
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.)
  
1. Label interval [seconds]<br>
+
 
  
 +
By David R. Sky
  
 +
  <hr>
  
Default sixty seconds between labels, from one second to six
+
<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]}}
  
 +
 
  
hundred seconds [ten minutes].
+
Random pitch Modulation
 
 
 
 
  
 
    
 
    
  
 +
Randomly modulates the pitch of your audio. As with previous
  
 +
randomly-controlled effects, the maximum speed (maxspeed) of the
  
2. Label text<br>
+
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.
  
The text that will appear in each label, default is "label".
+
 
  
 +
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
  
3. Prepend numbers to label text [0=no 1=yes]<br>
+
repeatedly for further random pitch changes.
  
 +
 
  
 +
It's difficult to explain the workings of the controls, it's easier
  
Default is yes, so your labels would sequentially be "0label
+
to experiment and find out what happens.
  
 +
 
  
 +
This effect works on mono and stereo audio. In stereo, each channel
  
1label..." and so on, using the default text.
+
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]}}
  
4. Final label [0=exclude 1=include]<br>
+
 
  
 +
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
  
For example, if your selection is sixty seconds long, and your
+
 
  
 +
The fast bounces come first, and each bounce is tone shifted.
  
 +
 
  
label interval is ten seconds, the final label would be at the
+
Written by David R. Sky
  
 +
 
  
 +
  <hr>
  
exact end of your selection. By default, the above variable is to
+
<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]}}
  
 +
 
  
exclude [not set] the final label.
+
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.
  
5. Final audio segment duration equal with others [0=no 1=yes] <br>
+
 
  
 +
by David R. Sky
  
 +
 
  
Your label interval setting may result in the final segment of
 
  
  
 +
  <hr>
  
audio being unequal with the preceding ones. By default, the above
+
<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]}}
  
 +
 
  
variable is set to make the final audio segment equal in duration
+
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
  
  
with the preceding ones. This might make the label interval
 
  
 +
 
  
  
slightly different from your chosen one, depending on the size of
 
  
 +
Improved over sequencer 1.a: simplified code makes this a version
  
  
the final audio segment.
 
  
 +
1 plug-in. Sequences mono and stereo audio already loaded into
  
  
 
 
  
 +
Audacity, whether a note, vocal sound, series of notes and/or vocal
  
  
<i>Note</i>
+
 
 +
sounds, etc. 
  
  
Line 2,267: Line 2,477:
  
  
People using a screen reader can view the label track in Audacity
+
Select all audio first, then click on Audio Sample Sequencer 1.b
  
  
  
1.3.3 beta by opening the track menu [alt+t] and clicking on 'edit
+
from the effects menu.
  
  
  
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
+
Variables:
  
  
  
main Audacity screen.
+
 
  
  
  
 
+
tempo (steady, in beats per minute);
  
  
  
Written by David R. Sky.<br>
+
 
  
  
  
{{external|1=[http://www.shellworld.net/%7Edavidsky/nyquist.htm
+
beats per measure (one to sixteen). This plug-in "assumes" that one
  
  
  
http://www.shellworld.net/~davidsky/nyquist.htm]}}<br>
+
sequence of notes is one measure;
  
  
  
released to the Audacity community  June 25, 2007.<br>
+
 
  
  
  
Thanks to Alex S. Brown for example code from his silencemarker.ny
+
sequences to generate: how many of these sequences do you want to
  
  
  
plug-in for placing labels on the label track.<br>
+
generate (from one to a thousand);
  
  
  
Released under terms of the GNU Public License<br>
+
 
  
  
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php 
+
16 pairs of tone shift and volume level (tone shift is measured in
  
  
  
http://www.opensource.org/licenses/gpl-license.php]}}
+
semitones - 0 means no tone shift, negative numbers indicate tone
  
  
  
 
+
drop, positive numbers indicate tone increase; volume level 1.0
  
  
  
  <hr>
+
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.)
  
<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)
+
 
 +
 
 +
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
  
  
  
Select all your audio, then use this plug-in to set the start and
+
beats per measure; 3. selecting how many sets
  
  
  
end margins using percentages. Start and end margins are anywhere
+
(sequences) of these 8 notes you want to generate (default is 16).  
  
  
  
from 0 to 100 percent.
+
These would be the settings for the 8 tone shift edit fields:
  
  
Line 2,363: Line 2,577:
  
  
If for example your audio is ten seconds long, you set the start at
+
0, 2, 4, 5, 7, 9, 11, 12.
  
  
  
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
+
If you start with a C note, the above settings will generate a C
  
  
  
the same settings, the result will be the first 2.5 seconds of your
+
major scale. If your starting note is a B flat note, the above will
  
  
  
original selected audio.
+
create a B flat major scale.
  
  
Line 2,387: Line 2,601:
  
  
If you do not like the extracted audio margins, you can undo the
+
Rhythms can also be created by playing with the volume edit fields.
  
  
  
result and apply with slightly different settings. Or you can re-
+
For example, in a series of eighth notes, notes which fall on only
  
  
  
apply for shrinking the audio further. Great for people who do not
+
the first, fourth and seventh beats can be made by making beats per
  
  
  
want to fiddle around with the cursor keys for selecting audio.
+
measure 8, and making volume on #2, 3, 5, 6 and 8 to 0.0.
  
  
Line 2,407: Line 2,621:
  
  
Beware! Audio outside the start and end percent margins will be
+
It is possible to generate a short sequence using this plug-in,
  
  
  
discarded! A plug-in for re-inserting the (altered) extracted audio
+
then apply it again to that new audio with different settings.
  
  
  
into the discarded audio is in the works.
+
 
  
  
  
 
+
Copy sequencer1b.ny into your Audacity plug-ins folder. The next
  
  
  
Written by David R. Sky
+
time you open Audacity, you'll find audio Sample Sequencer 1.b in
  
  
  
 
+
the effects menu.
  
  
  
  <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]}}
 
  
 
+
Written by David R. Sky December 17, 2004<br>
  
* Fade In and Out (Version 2 plug-in)
 
  
  
 +
Released under terms of the GNU Public License<br>
  
 
 
  
  
 +
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
Define fade-in and fade-out times, in seconds. Saves fiddling
 
  
  
 
+
http://www.opensource.org/licenses/gpl-license.php]}}
around with the mouse or keyboard.
 
  
  
Line 2,459: Line 2,669:
  
  
Written by David R. Sky
+
  <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
  
  <hr>
+
 
  
<b>Delay with Stereo Flip</b> |
+
I want to convert old tapes recorded at half speed to normal speed
  
  {{external|1=[http://audacity.sourceforge.net/nyquist/flipdelay.ny View flipdelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/flipdelay.zip Download flipdelay.zip]}}
+
using Audacity, and wanted a simple plug-in to change tempo.
  
 
    
 
    
  
* Delay with Stereo Flip
+
Variables
 
 
 
 
  
 
    
 
    
  
 +
1. Tempo change: default is 0.5.<br>
  
 +
2. Multiply or divide selector: 0=multiply, 1=divide; default is 0.
  
This is a stereo delay effect: with each delay, the stereo channels
+
 
 +
 
 +
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.
  
are flipped left-right and vice versa. Inspired by a sound effect
+
 
  
 +
Applying this effect to selected audio (using default settings)
  
 +
halves the tempo (and therefore the pitch).
  
heard in the opening track of Mike Oldfield's "songs From Distant
+
 
  
 +
Multiplying by 0.5 is the same as dividing by 2.
  
 +
 
  
Earth."
+
Audio examples
  
 +
 
  
 +
tempo1.mp3: "Hello" at half, normal and twice normal speeds.
  
 
    
 
    
  
 +
Written by David R. Sky
  
 +
 
  
Variables:
+
  <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
  
  
  
decay: the drop in volume (db) with each delay (default 3.0);
+
 
  
  
  
 
+
A plug-in for performing the same task as the time shift tool in
  
  
  
delay time: default 0.5 seconds;
+
Audacity.
  
  
Line 2,527: Line 2,757:
  
  
number of delays, including the original audio: default 10.
+
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
  
  
  
Thanks to Steven Jones for illustrating how to check for even/odd
+
choose the left channel shifted by 10.0ms, it will start 10.0ms
  
  
  
numbers.
+
later than previously.
  
  
Line 2,547: Line 2,777:
  
  
Written by David R. Sky December 2, 2004<br>
+
Only works on stereo audio. Useful for aligning tracks due to
  
  
  
Released under terms of the GNU Public License
+
recording latency. Also can be used for stereo effects.
  
  
  
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
+
 
  
  
  
http://www.opensource.org/licenses/gpl-license.php]}}
+
Written by David R. Sky
  
  
Line 2,569: Line 2,799:
 
   <hr>  
 
   <hr>  
  
<b>High Pass Filter with Q</b> |  
+
<b>Delay with tone Shift</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]}}
+
  {{external|1=[http://audacity.sourceforge.net/nyquist/tonedelay.ny View tonedelay.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/tonedelay.zip Download tonedelay.zip]}}
  
 
    
 
    
  
High Pass Filter with Q
+
  <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]}}
  
 
    
 
    
  
A high pass filter with q, or resonance. the higher q is, the more
+
* turntablewarp-ms.ny: Turntable Warping (mono/stereo) <br>
 +
 
 +
 
  
the cutoff frequency will resonate (produce a tone). (High pass
+
(version 2 plug-in)
  
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.
+
Improved over the previous turntablewarp.ny plug-in - you can warp
  
 
 
  
By David R. Sky
 
  
  <hr>
+
both mono and stereo audio.
  
<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 simulate unplugging your turntable while it's playing,
  
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
+
plugging it in, and related effects. A version 2 Nyquist plug-in
  
frequency of the high pass filter, and how much to increase the
 
  
cutoff frequency (in octaves) from there for each delay.
 
  
 
+
which works on Audacity 1.2.3 and later.
  
Applied to a voice, each delay sounds like it's increasingly coming
 
  
from a telephone.
 
  
 
    
 
    
  
Written by David R. Sky
 
  
 +
 +
Variables with explanations:
  
  
  <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
+
"step" indicates how many semitones above or below pitch of
  
unity are relatively unchanged. Low amplitude sections are greatly
 
  
amplified. The effect is a partial nullification of the amplitude envelope.
 
  
 
+
original audio (1 step = 1 semitone, 12 steps = 1 octave, etc.);
  
(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]}}
 
  
 
+
"amplitude" indicates volume level (in percent).
  
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. 
+
There are 5 values you can change:
  
 
 
  
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>
+
1. start step (default 0): how many semitones above or below
  
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).
+
original audio at start of selection;
  
 
 
  
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,
+
2. start amplitude (default 100%): volume at start of selection;
 +
 
  
applied 3 times to voice.
 
  
 
    
 
    
  
written by David R. Sky
 
  
 
 
  
  <hr>
+
3. change time (default 50%): point in time of original selection
  
<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]}}
 
  
 
+
at which warping values can change between first and second part of
  
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
 
  
 +
selection. This point has an internal step value of 0 semitones
  
  
 
 
  
 +
change, and internal volume of 100%;
  
  
Like on an electronic music synthesizer, a low frequency oscillator
 
  
 +
 
  
  
moves the cutoff frequency of a lowpass filter up and down.
 
  
 +
4. end step (default -12 semitones, 1 octave drop): at end of
  
  
 
 
  
 +
warped selection, how many semitones audio has been warped;
  
  
Variables
+
 
 +
 
 +
 
 +
 
 +
 
 +
5. end volume (default 40%): volume at end of warped audio.
  
  
Line 2,751: Line 2,949:
  
  
1. Center cutoff frequency, in Hz (default 640Hz).<br>
+
Applying this plug-in with the default settings results in the
  
  
  
2. LFO depth: how far above and below the center frequency the LFO
+
audio starting to slow down halfway through the original selection,
  
  
  
sweeps the filter (in octaves, default 1.0).<br>
+
and dropping to 40% of original volume. Like unplugging a turntable
  
  
  
3. LFO frequency: speed of up and down sweeping (default
+
while it's playing.
  
  
  
0.2Hz).<br>
+
 
  
  
  
4. LFO starting phase: in degrees, from -180 to +180 (default 0).
+
Since the "change time" is internally set at step 0 semitones and
  
  
  
 
+
volume 100%, different warping effects can be created, depending on
  
  
  
Audio examples
+
the start and end step and volume values:
  
  
Line 2,787: Line 2,985:
  
  
lfolp1.mp3, lfolp2.mp3, lfolp3.mp3: default settings, applied to
+
slowing down then speeding up;<br>
  
  
  
white noise 1, 2 and 3 times, respectively.<br>
+
speeding up then slowing down;<br>
  
  
  
lfolp4.mp3: center frequency 640Hz, 2 octave depth, LFO 1.0Hz,
+
speeding up to a particular step value then remaining at that
  
  
  
applied to 640Hz square wave.
+
value;<br>
  
  
  
 
+
slowly speeding up then quickly speeding up;<br>
  
  
  
written by David R. Sky
+
etc.
  
  
Line 2,815: Line 3,013:
  
  
  <hr>
+
Thanks to Roger B. Dannenberg for the warp tutorial on which this
  
<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.
+
plug-in is based. Thanks Sebastien Chopin for the request for the
  
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.
+
stereo version of this plug-in.
 
 
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
+
Copy turntablewarp-ms.ny into the Audacity plug-ins folder. next
  
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.
+
time you (re)start Audacity, Turntable Warping (mono/stereo) (V2)
  
 
 
  
By David R. Sky
 
  
  <hr>
+
will appear in the effects menu.
  
<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
 
  
 
+
Written by David R. Sky December 26, 2004<br>
  
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
+
Released under terms of the GNU Public license<br>
  
frequency of the low pass filter, and how much to decrease the
 
  
cutoff frequency (in octaves) from there for each delay.
 
  
 
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
To me, this has the psychoacoustic effect of each delay sounding
 
  
further and further away.
 
  
 
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
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
 
  
  
Line 2,899: Line 3,067:
 
   <hr>  
 
   <hr>  
  
<b>Multiband EQ</b> |  
+
<b>Turntable Warping </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]}}
+
  {{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp.ny View turntablewarp.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/turntablewarp.zip Download turntablewarp.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),
+
* turntablewarp.ny: Turntable Warping (version 2 plug-in)
  
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]}}
+
You can simulate unplugging your turntable while it's playing,
  
 
 
  
Loosely based on the Mutron stomp box from the late 70's. Basically it is an
 
  
envelope follower controlled filter.  
+
plugging it in, and related effects. At this point only works on
  
 
 
  
Center - sets un-modulated filter frequency.<br>
 
  
Depth - sets filter modulation depth either negative or positive.<br>
+
mono audio. A version 2 Nyquist plug-in which works on Audacity
  
Band Width - Resonance control, lower values are more resonant.<br>
 
  
Mode - There are four filters:<br>
 
  
0 - Low pass<br>
+
1.2.3 and later.
  
1 - High pass<br>
 
 
2 - Band Reject<br>
 
  
3 - Band Pass<br>
 
  
 
    
 
    
  
By Steven Jones
 
  
  <hr>
 
  
<b>Notch Filter</b> |
+
Variables with explanations:
 +
 
  
{{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
+
"step" indicates how many semitones above or below pitch
 +
 
  
spectrum of your audio. The default frequency is 60Hz, great for
 
  
removing 60Hz electrical hum, in case your recording equipment has
+
of original audio (6 steps = half an octave, 12 steps = 1 octave,
  
picked this up.
 
  
 
 
  
The second control, q, determines the width of the notch cut from
+
etc.);
  
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
+
"amplitude" indicates volume level (in percent).
 
 
  <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
+
There are 5 values you can change:
  
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;
+
1. start step (default 0): how many semitones above or below
 +
 
 +
 
 +
 
 +
original audio at start of selection;
 +
 
  
* 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
+
2. start amplitude (default 100%): volume at start of selection;
  
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
+
3. change time (default 50%): point in time of original selection
 +
 
  
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
+
at which warping values can change between first and second part of
  
a decrease of 1 semitone. Includes whole semitones plus semitone
 
  
cents (hundredths of a semitone).
 
  
 
+
selection. This point has an internal step value of 0 and internal
  
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
+
volume of 100%;
  
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>
+
4. end step (default -12): at end of warped selection, how many
  
<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
+
semitones audio has been warped;
  
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]}}
+
5. end volume (default 40%): volume at end of warped audio.
  
 
 
  
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
+
Applying this plug-in with the default settings results in 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
+
audio starting to slow down halfway through the original selection,
  
increase or decrease the amp effect.)
 
  
 
 
  
By David R. Sky
+
and dropping to 40% of original volume. Like unplugging a turntable
  
  <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]}}
+
while it's playing.
  
 
 
  
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
+
Since the "change time" is internally set at step 0 and
  
control, the maximum cutoff frequency of the low pass filter.
 
  
 
 
  
Once again, the lower you set maxspeed, the higher you must set
+
volume 100%, different warping effects can be created, depending on
  
factor to get similar depth of random filtering result. You can use
 
  
factor to decrease or increase the amount of randomness modulation.
 
  
 
+
the start and end step and volume values:
  
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
 
  
 +
slowing down then speeding up;
  
  
  <hr>
 
  
<b>Random panning</b> |
+
speeding up then slowing down;
  
{{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
+
speeding up then remaining normal;
  
 
 
  
Like someone is playing around with the panning knob. You can set
 
  
the maximum speed (maxspeed, in hz) of the random changes. The
+
slowly speeding up then quickly speeding up;
  
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
+
etc.
  
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> |
+
Thanks to Roger B. Dannenberg for the warp tutorial on which this
 +
 
 +
 
  
{{external|1=[http://audacity.sourceforge.net/nyquist/randompitch.ny View randompitch.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/randompitch.zip Download randompitch.zip]}}
+
plug-in is based.  
  
 
 
  
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,
+
Written by David R. Sky December 13, 2004<br>
  
the higher you must set the factor control to get the same depth of
 
  
randomness as with higher maxspeed settings.
 
  
 
+
Released under terms of the GNU Public License<br>
 
 
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
+
{{external|1=[http://www.opensource.org/licenses/gpl-license.php
  
settings, this does not happen, and the effect can be re-applied
 
  
repeatedly for further random pitch changes.
 
  
 
+
http://www.opensource.org/licenses/gpl-license.php]}}
  
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>  
 
   <hr>  
  
<b>Reverse bouncing ball delay with Tone Shift</b> |  
+
<b>Stereo Widener</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]}}
+
  {{external|1=[http://audacity.sourceforge.net/nyquist/widener.ny View widener.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/widener.zip Download widener.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; 
+
* Stereo Widener
 
 
* Reverse Bouncing Ball Delay with Tone Shift
 
  
 
    
 
    
  
The fast bounces come first, and each bounce is tone shifted.
+
This plug-in gives the effect of widening stereo audio, using a
  
 
+
method David Walsh outlined on the Audacity-users list (thanks
  
Written by David R. Sky
+
David).
  
 
    
 
    
  
  <hr>
+
There is one variable, Inverted Signal Volume (vol, default is -20
  
<b>Reverse bouncing ball delay</b> |
+
db).
 
 
{{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;  
+
Each channel is inverted, attenuated by (vol), then added to the
  
Reverse bouncing ball delay
+
opposite channel. The greater (vol) is, the wider the stereo effect.  
 
 
 
 
 
 
The fast bounces come first, gradually slowing down. Reverse of the
 
 
 
bouncing ball delay effect.
 
 
 
 
 
 
 
by David R. Sky
 
  
 
    
 
    
 +
== Analysis plug-ins ==
  
 +
<font color="#FF6600">'''Peak Finder''' </font>(peakfinder.ny) {{external|[http://audacity.sourceforge.net/nyquist/peakfinder.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/peakfinder.zip Download]}}
  
 +
Author: Edgar-rft.  Either places a single label at the first instance of a peak volume, or multiple labels at all the instances of that peak.
  
  <hr>
+
----
  
<b>Audio Sample Sequencer 1</b> |
+
== included in Audacity ==
  
{{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b.ny View sequencer1b.ny]}} |  {{external|1=[http://audacity.sourceforge.net/nyquist/sequencer1b.zip Download sequencer1b.zip]}}
+
<b>Risset Drum</b>
 
 
 
 
 
 
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 09:13, 27 January 2008

Example.png

This page is a User "Work in Progress"

Please let the claimant work with it at least two weeks after this sticker was put up (or until this sticker has been removed, if earlier).

Suggestions may be made to the claimant by clicking on the page's "discussion" tab.

These are optional plug-in effects for Audacity. They are written in the Nyquist programming language . For installation instructions, see the main plug-ins page .
Unless otherwise indicated, David R.Sky is the primary author of these plug-ins, and they are released under the terms of the GNU General Public License. 

Instructions: View Download Example

Audio Generators

Binaural Tones with Surf 2 (bitone2.ny) View  | Download  | MP3 example clip 

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".

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 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:
  • Beta (14-21 Hz and higher)
  • Alpha (7-14 Hz)
  • Theta (4-7 Hz)
  • 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.

Attention.png 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.

Parameters:

  1. Left channel tone frequency: from 50 Hz to 1000 Hz (default 100 Hz).
  2. 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.
  3. Adjust total time: between 1 and 60 minutes [0=no adjustment].
  4. 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.
  5. 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:
  6. 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).
  7. Tone to surf volume ratio: [percent] from 0 to 100 percent (default 70%). Adjusts the relative volume of the tones and surf sound.


In addition to the tones, you can also generate stereo surf based on pink noise . This is a lower-frequency "rushing" sound compared with "hissing" white noise.


Buzz tone generator (buzz.ny) View  | Download  | MP3 Example Clip 

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.


Harmonic Noise (harmonicnoise.ny) View  | Download 

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.

Parameters:

  1. 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.
  2. Number of Harmonics: An integer between 1 and 32 which sets the number of partials for each note generated.
  3. Duration: The tone's duration in seconds.
  4. Band Width: The noise band width in Hertz. Higher values result in a more noisy tone.
  5. Odd Harmonics Only: Choose between all harmonics or odd-numbered harmonics only.



KLSTRBAS (klstrbas.ny) View  | Download 


Author: Steven Jones. KLSTRBAS (for "cluster bass") generates several signals with a fixed frequency ratio between them. Apparently, early Roland drum machines created cymbal sound in part by combining multiple square waves with non-integral frequency ratios. The combined signal was then high pass 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:

  1. Key: MIDI key number
  2. Decay: Decay time in whole seconds
  3. Fdecay: Fractional decay time in 1/100 seconds
  4. Density: The number of component waveforms is four times the density. Higher densities produce a deeper flange effect but can also cause the sound to go out of tune.
  5. Detune: Affects relative frequencies. See below.
  6. Flange: Affects relative frequencies. See below
  7. 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.

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 <= d <= 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.


Noise Band (nseband.ny) View  | Download 

Author: Steven Jones. 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.


PWM (pwm.ny) View  | Download 

Author: Steven Jones. Generates a modulated pulse tone.

Parameters:

  1. Key: Tones frequency as MIDI key number [0...127]
  2. Cents: Detune amount in cents [0...99]
  3. Duration: Tones duration in milliseconds [1...30000]
  4. Mod Rate: Number of modulation cycles [1...100]
  5. Mod Depth: Modulation depth as percent [-100...+100]
  6. Mod Wave: 0 = tri, 1 = up sawtooth, 2 = down sawtooth
  7. Width: Fixed pulse width as percent [0...100]
  8. Amp: Amplitude as percent [0...100]

If the sum of the fixed width and the instantaneous modulation amount is outside the interval [0,99], the output will go to full off or full on.


DTMF Tones (random) (dtmfrand.ny) View  | Download  |

Touch Tones (also known as DTMF or Dual Tone Multi Frequency Tones) are the tones made by key pads on telephones. Each tone is comprised of two separate tones at different pitch, hence "dual tone".

Parameters:

  1. Number of DTMF Tones
  2. Option to include military tones A-D
  3. Option to include silent intervals
  4. Volume
  5. Tone length in seconds
  6. High to low tone ratio (or twist) in dB
  7. Post silence duration in milliseconds

"Twist" is the volume ratio between the higher-pitched and lower-pitched tones in any given tone. So a twist value of 0 dB means the higher-pitched tone is no louder than the lower-pitched tone. A twist value of 4 dB means the higher-pitched tone is 4 dB louder than the lower-pitched tone.


DTMF Tones (dtmf.ny) View  | Download 

Touch Tones (also known as DTMF or Dual Tone Multi Frequency Tones) are the tones made by key pads on telephones. Each tone is comprised of two separate tones at different pitch, hence "dual tone".

Type in your telephone number, or an 'alphabetized' number such as "1800audacity". Includes the military's A, B, C and D tones to the right of the regular number keypad.

Parameters:

  1. Tone string: by default "180audacity"
  2. Tone duration: in milliseconds
  3. Silence duration after tone: in milliseconds
  4. Twist (increased volume of the higher tone in each tone) in dB
  5. Volume in percent

"Twist" is the volume ratio between the higher-pitched and lower-pitched tones in any given tone. So a twist value of 0 dB means the higher-pitched tone is no louder than the lower-pitched tone. A twist value of 4 dB means the higher-pitched tone is 4 dB louder than the lower-pitched tone.


Risset Bell (rbell.ny) View  | Download 

Author: Steven Jones. 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.


Rndtone (rndtone.ny) View  | Download 

Author: Steven Jones. Generates random sine waves. The generated tones have random frequencies, attack and decay times.

Parameters:

  1. Total duration: in seconds
  2. Number of tones generated
  3. Floor: Minimum frequency in Hz
  4. Ceiling: Maximum frequency in Hz

SQ1 (sq1.ny) View  | Download 

Author: Steven Jones. Algorithmic sequencer number 1. The sq1 sequencer generates complex sequences of tones by using the sum of three square-wave low frequency oscillators 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.

Parameters:

  1. Center: The unmodulated carrier frequency in Hz
  2. Detune: The frequency of oscillator 2 relative to oscillator 1
  3. Wave: The wave selector [0=sine, 1=tri, 2=square, 3=saw]. Both oscillators produce the same wave-shape.
  4. Attack: Attack time in seconds
  5. Sustain: Sustain time in seconds
  6. Decay: Decay time in seconds
  7. f1: Frequency of LFO 1
  8. a1: Amplitude of LFO 1
  9. f2: Frequency of LFO 2
  10. a2: Amplitude of LFO 2
  11. f3: Frequency of LFO 3
  12. a3: Amplitude of LFO 3

The three LFOs are interchangeable. Note that the LFO amplitudes are calibrated in Hz indicating the corresponding frequency shift in the audio oscillators.



Surf-lfo (surf-lfo.ny) View  | Download  | MP3 example clip 

LFO Surf generator. A signal whose frequency is generally below the human ear's ability to hear as a tone, usually 20 cycles per second [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 new stereo track in Audacity. Do this by ALT, P, S in Audacity pre-1.3, or ALT, T, N, S in 1.3 and later.

Parameters:

1. Mono or stereo surf: [1=mono 2=stereo]
Mono surf is heard only in the center between the two speakers, or in the middle of your head when wearing headphones. Stereo surf sweeps back-and-forth somewhere between the two audio channels, depending on the next setting, Stereo Spread.
2. Stereo spread: [stereo only: percent]
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 more in the right channel.
3. Fade-in and fade-out times: [seconds]
To smoothly fade in and fade out the volume at the start and end of the surf.
4. Surf duration: [minutes] (up to 60)
5. Surf type: [0=white noise 1=pink noise]
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]
Sets how slow or fast the surf sweeps between the lower and upper filter frequencies, and the left and right channels [for stereo surf].
7. Lower filter frequency: [Hz]
8. Upper filter frequency: [Hz]
Both the above determine how low and how high the lowpass filter sweeps the surf noise.
9. Bass frequency to boost: [Hz]
You can boost the volume of frequencies of the surf sound below this setting, to get a deeper-sounding surf. Somewhat equivalent to the bass knob on your stereo.
10. Bass boost : [dB]
Sets how much to boost the above bass frequency. 0 dB means no boost, 6 dB means double the amplitude of the bass frequency, and so on.


Note:

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.



Surf-oxy (surf-oxy.ny) View  | Download  | MP3 example clip 

Jean-Michel Jarre put out a hauntingly beautiful electronic album in 1976, Oxygene. 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.

Start a new session of Audacity. 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]".

Parameters:

1. Surf output: [1=mono 2=stereo]
To generate mono or stereo Oxygene surf.
2. Stereo spread: [stereo only - percent]
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]
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:
How many Oxygene surf cycles to generate.
5. Surf type: [0=white noise 1=pink noise]
White noise is a higher-frequency "hissing", whereas pink noise is a lower-frequency "rushing" sound.
6. Sweep starting filter frequency: [Hz]
7. Sweep ending filter frequency: [Hz]
The above two parameters 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]
This sets how slow or fast the sweep portion of Oxygene surf takes.
9. Post-sweep silence duration: [seconds]
Duration of the silence after the sweep.
10. Crash filter frequency: [Hz]
The lowpass filter frequency of the crash.
11. Crash bass frequency boost: [dB]
How much to increase the volume of the above filter frequency and below. 0 dB means no boost, 6 dB means double the amplitude of this bass frequency, and so on.
12. Post-crash silence duration: [seconds]
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.



Tuning Fork (tuning.ny) View  | Download  MP3 example clip] 

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).

Parameters:

1. Tone duration: up to 120 seconds.
2. 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.
3. MIDI or frequency: (0=MIDI 1=frequency, default=0 MIDI)
Choose whether to generate a MIDI note number or frequency. Middle C=MIDI note 60, A440=MIDI note 69.
4. 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)
5. Frequency:
If you have chosen to generate a frequency, enter the frequency here.



Variable Duration Silence generator |

View varsilence.ny  |  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



Ten band E Q |

View 10bandeq.ny  |  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



Classic EQ |

View 15bandEQ.ny  |  Download 15bandEQ.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]   

 15 Band Equalizer: 
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 

Amplify left or right channel |

View amplr.ny  |  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).

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



Bouncing ball delay with panning |

View bbdelay.ny  |  Download bbdelay.zip 


Bouncing ball delay with panning by David Sky


Bouncing ball delay with Tone Shift |

View bbdtone.ny  |  Download bbdtone.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]   

  • 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



Bouncing Ball Delay |

View bouncingball.ny  |  Download bouncingball.zip 


Example audio clips: [MP3 Clip 1]    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


Stereo Butterfly |

View butterflyramp.ny  |  Download butterflyramp.zip 


Example audio clips: [MP3 Clip 1]   

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



Stereo Butterfly |

View butterflystatic.ny  |  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


Center Pan Remover |

View centerpanremover.ny  |  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


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 







Chimes delay |

View chimesdelay.ny  |  Download chimesdelay.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]    [MP3 Clip 3]    [MP3 Clip 4]    [MP3 Clip 5]    [MP3 Clip 6]   

  • 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


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 





Comb filter |

View comb.ny  |  Download comb.zip 


Example audio clips: [MP3 Clip 1]   

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


Customizable EQ |

View customeq.ny  |  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


Dual Tape Decks |

View dualtapedecks.ny  |  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


Selection Duration |

View duration.ny  |  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 <enter>


after each track duration is given. The final screen gives


information from Nyquist, which you can ignore. Simply press


<enter> 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.









Regular interval labels |

View equalabl.ny  |  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.




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.




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]


Default sixty seconds between labels, from one second to six


hundred seconds [ten minutes].




2. Label text


The text that will appear in each label, default is "label".




3. Prepend numbers to label text [0=no 1=yes]


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]


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]


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.




Note




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.


[http://www.shellworld.net/%7Edavidsky/nyquist.htm 


http://www.shellworld.net/~davidsky/nyquist.htm] 


released to the Audacity community June 25, 2007.


Thanks to Alex S. Brown for example code from his silencemarker.ny


plug-in for placing labels on the label track.


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php  


http://www.opensource.org/licenses/gpl-license.php] 





Extract Audio |

View extractp.ny  |  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





Fade In and Out |

View fade-io.ny  |  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





Delay with Stereo Flip |

View flipdelay.ny  |  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


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 





High Pass Filter with Q |

View highpass2.ny  |  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


Delay with high pass filter |

View hpdelay.ny  |  Download hpdelay.zip 


Example audio clips: [MP3 Clip 1]   

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



Hyperexp |

View hyperexp.ny  |  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.


LFO High Pass Filter |

View lfohp.ny  |  Download lfohp.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]   

  • 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).

2. LFO depth: how far above and below the center frequency the LFO

sweeps the filter (in octaves, default 1.0).

3. LFO frequency: speed of up and down sweeping (default

0.2Hz).

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.

lfolp2.mp3: 640Hz center frequency, 5 octave depth, 5Hz LFO,

applied 3 times to voice.


written by David R. Sky



LFO Low Pass Filter |

View lfolp.ny  |  Download lfolp.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]    [MP3 Clip 3]    [MP3 Clip 4]   

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).


2. LFO depth: how far above and below the center frequency the LFO


sweeps the filter (in octaves, default 1.0).


3. LFO frequency: speed of up and down sweeping (default


0.2Hz).


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.


lfolp4.mp3: center frequency 640Hz, 2 octave depth, LFO 1.0Hz,


applied to 640Hz square wave.




written by David R. Sky





LFO panning |

View lfopan.ny  |  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


Low Pass Filter with Q |

View lowpass2.ny  |  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


Delay with low pass filter |

View lpdelay.ny  |  Download lpdelay.zip 


Example audio clips: [MP3 Clip 1]   

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



Multiband EQ |

View multibandeq.ny  |  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


Mutron |

View mutron.ny  |  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.

Depth - sets filter modulation depth either negative or positive.

Band Width - Resonance control, lower values are more resonant.

Mode - There are four filters:

0 - Low pass

1 - High pass

2 - Band Reject

3 - Band Pass


By Steven Jones


Notch Filter |

View notch.ny  |  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


Panning |

View pan.ny  |  Download pan.zip 


Example audio clips: [MP3 Clip 1]    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.


Delay with Pitch Shift |

View pitchdelay.ny  |  Download pitchdelay.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]   

  • 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



ramp panning |

View ramppan.ny  |  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


Random Amplitude Modulation |

View randomamp.ny  |  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


Random low pass filter |

View randomlp.ny  |  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



Random panning |

View randompan.ny  |  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


Random Pitch Modulation |

View randompitch.ny  |  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


Reverse bouncing ball delay with Tone Shift |

View rbbdtone.ny  |  Download rbbdtone.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]   

  • Reverse Bouncing Ball Delay with Tone Shift


The fast bounces come first, and each bounce is tone shifted.


Written by David R. Sky



Reverse bouncing ball delay |

View reversebouncing.ny  |  Download reversebouncing.zip 


Example audio clips: [MP3 Clip 1]   

Reverse bouncing ball delay


The fast bounces come first, gradually slowing down. Reverse of the

bouncing ball delay effect.


by David R. Sky




Audio Sample Sequencer 1 |

View sequencer1b.ny  |  Download sequencer1b.zip 


Example audio clips: [MP3 Clip 1]    [MP3 Clip 2]    [MP3 Clip 3]   

  • 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


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 





Tempo Change |

View tempo.ny  |  Download tempo.zip 


Example audio clips: [MP3 Clip 1]   

  • 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.

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



Time Shift tool |

View timeshift.ny  |  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





Delay with tone Shift |

View tonedelay.ny  |  Download tonedelay.zip 



Turntable Warping |

View turntablewarp-ms.ny  |  Download turntablewarp-ms.zip 


  • turntablewarp-ms.ny: Turntable Warping (mono/stereo)


(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;


speeding up then slowing down;


speeding up to a particular step value then remaining at that


value;


slowly speeding up then quickly speeding up;


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


Released under terms of the GNU Public license


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 





Turntable Warping |

View turntablewarp.ny  |  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


Released under terms of the GNU Public License


[http://www.opensource.org/licenses/gpl-license.php 


http://www.opensource.org/licenses/gpl-license.php] 





Stereo Widener |

View widener.ny  |  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.


Analysis plug-ins

Peak Finder (peakfinder.ny) View  | Download 

Author: Edgar-rft. Either places a single label at the first instance of a peak volume, or multiple labels at all the instances of that peak.


included in Audacity

Risset Drum