Difference between revisions of "Download Nyquist Plug-ins"

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<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]}} |
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///<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]}}
 
{{external|[http://audacity.sourceforge.net/nyquist/tuningfork1.mp3 MP3 example clip]}}
  
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<font color="#FF6600">'''Variable Duration Silence Generator''' </font>(varsilence.ny) {{external|[http://audacity.sourceforge.net/nyquist/varsilence.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/varsilence.zip Download]}}
 
<font color="#FF6600">'''Variable Duration Silence Generator''' </font>(varsilence.ny) {{external|[http://audacity.sourceforge.net/nyquist/varsilence.ny View]}} |  {{external|[http://audacity.sourceforge.net/nyquist/varsilence.zip Download]}}
  
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.
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This plug-in will generate any length of silence from 0.000 to 60.999 seconds. It might have a slight advantage over the silence generator in current Beta versions of Audacity which by default only lets you choose a value in whole seconds.
 
   
 
   
 
Parameters:
 
Parameters:
  
:1. '''Silence duration 1:''' 0 to 60 seconds.
+
#'''Silence duration 1:''' [0 - 60 seconds]
 
+
#'''Silence duration 2:''' [0.000 to 0.999 seconds] - change this if you want a value other than in whole seconds. Both values will be added to determine the silence to be generated.
:2. '''Silence duration 2:''' 0.000 to 0.999 seconds.
 
 
 
Both values will be added to determine the overall silence duration to be generated.
 
 
 
  
  

Revision as of 08:55, 22 February 2008

Example.png

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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).

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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

[ToDo] Note: Plug-ins marked 3 are type 3 Nyquist plug-ins which do not work in Audacity 1.2.x or earlier.

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. Noise Band creates narrow band noise by ring-modulating a sine wave with low-pass filtered noise. The effect is similar to band-pass filtering noise.

Parameters:

  1. Center Frequency: [Hz between 10 and 10000]
  2. Band Width: [Hz between 1 and 10000]
  3. Duration:# [seconds between 0 and 30]
  4. Fractional Duration: [n/100 seconds between 0 and 99]

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 US 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 (varsilence.ny) View  | Download 

This plug-in will generate any length of silence from 0.000 to 60.999 seconds. It might have a slight advantage over the silence generator in current Beta versions of Audacity which by default only lets you choose a value in whole seconds.

Parameters:

  1. Silence duration 1: [0 - 60 seconds]
  2. Silence duration 2: [0.000 to 0.999 seconds] - change this if you want a value other than in whole seconds. Both values will be added to determine the silence to be generated.


Effect plug-ins

Ten Band EQ (10bandeq.ny) View  | Download 

An Equaliser (EQ) that can modify one band at a time. Select the band number (1 to 10) and gain (-24 to +24 dB).



Classic EQ (15bandEQ.ny) View  | Download  | MP3 example clip 1  | clip 2 

Co-authors: Josu Etxeberria and David R.Sky. An Equaliser (EQ) that can modify more than one band at a time. You have 15 bands to choose from and can manipulate all of of them independently by moving their sliders.

Example clips: clip 1 is a phrase spoken twice, first with no equalisation and then with the five lowest frequency bands raised 10 dB; in clip 2, the five highest frequency bands are raised 10 dB.



Amplify Left or Right Channel (amplr.ny) View  | Download 

If you have a stereo track and want to amplify or attenuate one channel only without using the mouse, this plug-in will do it.

Parameters:

  1. Channel 0=left channel, 1=right channel (default 0).
  2. Volume [dB]: amplify or attenuate the channel (default 0 dB, no change in volume).

Note: Audacity Beta now has keyboard commands you could use instead: SHIFT + M to open the Track Drop-down menu on the the focused track, and then SHIFT + G to change the gain on the focused track, using up or down arrow to change focus.



Bouncing Ball Delay (bouncingball.ny) View  | Download  | MP3 example clip 

Just like it sounds. A delay plug-in where, like a bouncing ball, the bounces get faster and faster. You can set time that the bounces increase in speed with each delay, the number of bounces, and how much in dB the sound decreases with each bounce.

Parameters:

  1. Decay amount [dB]: - how much quieter each bounce is.
  2. Delay time [seconds]:
  3. Number of bounces [times]:
  4. Tone shift (whole) [semitones]:
  5. Tone shift (cents) [cents]:


Note: The most recent  delay plug-in available for Audacity includes bouncing ball delay with pitch change, but not panning.



Bouncing Ball Delay with Panning (bbdelay.ny) View  | Download 

Combines the Bouncing Ball Delay with a panning effect. A delay effect in which the echo get faster, like a bouncing ball. Each echo is panned further from center by the designated amount.

Parameters:

  1. Decay amount [dB]:
  2. Delay time [seconds]:
  3. Number of bounces [times]:
  4. Pan spread movement [move]: - defines the extent to which each bounce will be increasingly far from center

Note: The most recent  delay plug-in available for Audacity includes bouncing ball delay with pitch change, but not panning.


Bouncing Ball Delay with Tone Shift (bbdtone.ny) View  | Download  | MP3 example clip 1  | clip 2 

Combines the Bouncing Ball Delay and Delay with Tone Shift plug-ins. A delay effect in which the echoes get faster, like a bouncing ball. Each echo is shifted in pitch by the designated amount in semitones plus cents (hundredths of a semitone).

Parameters:

  1. Decay amount [dB]:
  2. Delay time [seconds]:
  3. Number of bounces [times]:
  4. Tone shift (whole) [semitones]:
  5. Tone shift (cents) [cents]:

Notes:

  1. 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. In this case, clipping can occur if the decay value is left at 0.
  2. The most recent  delay plug-in available for Audacity includes bouncing ball delay with pitch change.



Stereo Butterfly (static) (buttrfly.ny) View  | Download 

The original Stereo Butterfly plug-in, the name coming 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.

Parameters:

  1. Stereo width [width, between -1.0 and +1.0



Stereo Butterfly (LFO) (buttrlfo.ny) View  | Download 

Second in the Stereo Butterfly series. It takes stereo audio and makes it sound like the left and right channels are switching back and forth with each other. You can define the LFO (low frequency oscillator) rate. As in Stereo Butterfly (static), -1 is stereo channels fully flipped with each other, 0 sounds like mono, and 1 is full regular stereo. The difference here is that you can define two widths, so defining how you want the stereo to be manipulated over time. For instance, from -1 to +1 means Stereo Butterfly flips the left and right channels with each other at the frequency you set. If you set the two numbers at 0 and +1, the stereo audio will change between mono-sounding and regular stereo. Set at -1 and 0, the effect will be of fully flipped stereo changing to mono-sounding. Any other numbers you choose between -1 and +1 will give intermediate effects.

Parameters:

  1. LFO frequency: [between 0.01 and 20 Hz]
  2. Width1: Stereo width from [range from -1.00 to +1.00]
  3. Width2: to Stereo width [range from -1.00 to +1.00]



Stereo Butterfly (ramp) (buttrramp.ny) View  | Download  | MP3 example clip 

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.

Parameters:

  1. Spread stereo from... [range from -1.00 to +1.00]
  2. to: [range from -1.00 to +1.00]



Chimes delay (chimesdelay.ny) View  | Download  | MP3 example clip 1  | clip 2  | clip 3  | clip 4  | clip 5  | clip 6 

Adds random delay to your audio, and randomly changes the pitch of each delay if you specify a note list (which is where the name 'Chimes Delay' comes from).

Each number in the note list indicates how many semitones your audio should be pitch shifted (along with matching tempo shift). For example, 0 indicates no pitch shift, 12 indicates a rise of 12 semitones (one octave), -5 indicates drop of 5 semitones (like going from C down to G below that C note).

Example: If the audio you have loaded into Audacity is C3, the above note list would randomly produce the following major-sounding notes:

C1 C2 G2 C3 E3 G3 C4 D4 G4

If you delete this note list, 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.

If your audio is stereo, each random delay with random volume and 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.)

Tips:

  • 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 minimum and maximum notes fields.
  • It is possible that total length of your resulting audio will be maximum delay time *plus* the 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).
  • Warning: If your original audio is non-musical, Chimes Delay will not make it musical!


Parameters:

  1. Chimes note list: [default list: -24 -12 -5 0 4 7 12 14 19]
  2. Minimum note: [semitones from -12 to +48]
  3. Maximum note: [semitones from -12 to +48]
  4. Maximum delay time: [seconds from 0.5 to 120] - the maximum delay of the random delays
  5. Minimum volume: [percentage] - the minimum random volume that each random delay can have. If you want no random amplitude changes, set this field to 100 percent.
  6. Number of chime delays: [from 1 to 100] - how many delays within the maximum delay time.

Acknowledgement due to Steven Jones whose "Harmonic Noise" generator plug-in is the source for Nyquist code to handle a string-input note list.




Comb Filter (comb.ny) View  | Download  | MP3 example clip 

The name 'comb' filter comes from how it acts on the audio spectrum 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 Hz and succeeding frequencies. 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.

Parameters:

  1. Comb frequency: [Hz, 20 - 5000, default 440]
  2. Comb decay: [0 - 0.1, default 0.025]
  3. Normalization level: [0.0 - 1.0, default 0.95]



Customizable EQ (eqcustom.ny) View  | Download 

Parameters:

  1. Center frequency: [Hz, 20 - 20000, default 440]
  2. Band width in octaves [octaves, 0.1 - 5.0, default 1.0]
  3. Gain: [dB, -48.0 - +48.0, default 0.0]
  4. Apply normalization? [Default = "no"]
  5. Normalization level: [0.0 - 1.0, default 0.95]



Delay with High Pass Filter (hpdelay.ny) View  | Download  | MP3 example clip 

Applies a high pass filter to a delay so that with each subsequent delay, the filter's cutoff frequency is increased. A high pass filter attenuates sound below a given cut off frequency, therefore when this plug-in is applied, each delay sounds increasingly thin and lacking bass. Applied to a voice, it makes each delay sounds like it's increasingly coming from a telephone.

Parameters:

  1. Decay amount: [0 - 24 dB, default zero] - how much quieter each subsequent delay is
  2. Delay time: [0 - 5 seconds, default 0.5]
  3. Number of echoes: [1 - 30, default 10]
  4. Start cutoff frequency: [100 - 5000, default 1000] - the high pass cut-off frequency at the start of the delay.
  5. Cutoff increase: [octaves, 0.1 - 5.0, default 0.5] - how much to increase the filter cut-off point with each delay.



Delay with Low Pass filter (lpdelay.ny) View  | Download  | MP3 example clip 

Applies a low pass filter to a delay so that with each subsequent delay, the filter's cutoff frequency is reduced. A low pass filter attenuates sound above a given cut off frequency, therefore when this plug-in is applied, each delay sounds to have increasing bass. To the author, 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.

Parameters:

  1. Decay amount: [0 - 24 dB, default zero] - how much quieter each subsequent delay is
  2. Delay time: [0 - 5 seconds, default 0.5]
  3. Number of echoes: [1 - 30, default 10]
  4. Start cutoff frequency: [100 - 20000, default 1000] - the low pass cut-off frequency at the start of the delay.
  5. Cutoff reduction: [octaves, 0.1 - 5.0, default 0.5] - how much to reduce the filter cut-off point with each delay.
  6. Normalization level: [0 - 1.0, default 0.95]



Delay with Stereo Flip (delayfli.ny) View  | Download 

This is a stereo delay effect: with each delay, the stereo channels are flipped from left to right and vice versa. Inspired by a sound effect heard in the opening track of Mike Oldfield's "Songs From Distant Earth."

Parameters:

  1. Decay amount: [0 - 24 dB]
  2. Delay time: [0 - 5 seconds]
  3. number of delays: [1 - 100]
  4. Normalization level: [0 - 1, default 0.95]



Dual Tape Decks (dualtapedecks.ny) View  | Download 

Simulates two tape decks playing identical tapes, but out of synchronisation with each other. Written to produce 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.

The plug-in can produce some interesting stereo effects, though note that due to the greater "cross-talk" of speakers, listening in speakers and headphones will sound different. 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.

Parameters:

  1. LFO frequency: [Hz, 0.001 to 25.000]
  2. Starting phase: [degrees, -180 to +180, default 0]
  3. Phase difference: [degrees, 0 to 360, default 180]
  4. Depth: [0.001 to 2.000] - The larger depth is, the more pronounced the pitch and tempo shift become until there is a noticeable warble.



Extract Audio (extract.ny) View  | Download 

Extracts audio from a selected area without using a mouse or cursor keys. The current Audacity 1.3.x Beta has a Selection Bar providing a screen-reader friendly display of selection start time and duration which you could use for similar purpose, but if you're using 1.2.x with a screen reader, this plug-in provides a solution. It also has an easy option to extract a percentage of the selected audio. For example, selecting 50% "start percent" and 100% "end percent" will leave you with only the last half of your selection.

Parameters:

  1. Time or percent?
  2. Start time: [seconds, maximum 600]
  3. End time: [seconds, maximum 600]
  4. Start percent:
  5. End percent:

Fade In and Out (fade-io.ny) View  | Download 

Define the length of fade-in and fade-out selections without using a mouse or cursor keys. Note the current Audacity 1.3.x Beta has a Selection Bar providing a screen-reader friendly display of selection start time and duration which you could use for similar purpose.

Parameters:

  1. Fade in time: [seconds, maximum 30]
  2. Fade out time: [seconds, maximum 30]



High Pass Filter with q (highpass2.ny) View  | Download 

A high pass filter with q, or resonance. A high pass filter attenuates frequencies below a given cut-off point. The higher q is, the more the cut-off frequency will resonate (produce a tone). Applied to white noise, both this filter and the low pass filter with Q can be used to produce wind-like sounds at a constant frequency. See the high pass filter (LFO) and low pass filter (LFO) for ability to modulate a fixed resonance cut-off frequency.

Parameters:

  1. Cutoff frequency: [20 - 10000 Hz, default 1000]
  2. Filter q (resonance): [0 - 5, default 1]



High Pass Filter (LFO) (hplfo.ny) View  | Download  | MP3 example clip 1  | clip 2 

A high pass filter with a low frequency oscillator (LFO). A high pass filter attenuates frequencies below a given cut-off point. The LFO in this plug-in modulates the cut-off frequency up and down, like on an electronic synthesizer.

Parameters:

  1. LFO frequency: [0 - 20 Hz, default 0.2] - defines the speed of the oscillation, higher is faster
  2. Lower cutoff frequency: [20 - 20000 Hz, default 160]
  3. Upper cutoff frequency: [20 - 20000 Hz, default 2560]
  4. LFO starting phase: [-180 to + 180 degrees, default 0]

Example clip 1: LFO frequency of 1.0 Hz, lower frequency 113 Hz, upper frequency 3620 Hz, applied to 110Hz square wave.
Example clip 2: LFO frequency of 5.0 Hz, lower frequency 113 Hz, upper frequency 3620 Hz, applied three times to a voice.



Hyperexp (hyperexp.ny) View  | Download 

Author: Steven Jones. The Hyperexp effect is a type of compression. High amplitude sections of approximately unity are relatively unchanged. Low amplitude sections are greatly amplified. The effect is a partial nullification of the amplitude envelope. There is one parameter, which is to choose to normalize or not, the default choice being "yes".


Panning (LFO) (panlfo2.ny) and (panlfo2a.ny for Audacity 1.3.3 or later)
Audacity 1.2.x and pre-1.3.3: View  | Download 
Audacity 1.3.3 or later: (improved version 3 screen display) View  | Download 

Panning is controlled by a low frequency oscillator. Only works on unsplit stereo tracks. Pan the audio to center before use for best results.

Parameters:

  1. LFO frequency: [Hz, 0.02 - 20, default 0.1]
  2. LFO waveform: [sine, triangle, saw, inverted saw, pulse]
  3. Pulse waveform duty cycle: [percent, default 50]
  4. LFO starting phase: [degrees, -180 - +180, default 0]
  5. Leftmost pan position: [percent, default 5] - 0%=left channel, 50%=center, 100%=right channel
  6. Rightmost pan position: [percent, default 95] - 0%=left channel, 50%=center, 100%=right channel



Low Pass Filter (LFO) (lplfo.ny) View  | Download  | MP3 example clip 1  | clip 2  | clip 3  | clip 4 

A low pass filter with a low frequency oscillator (LFO). A low pass filter attenuates frequencies above a given cut-off point. The LFO in this plug-in modulates the cut-off frequency up and down, like on an electronic synthesizer.

Parameters:

  1. LFO frequency: [0 - 20 Hz, default 0.2] - defines the speed of the oscillation, higher is faster
  2. Lower cutoff frequency: [20 - 20000 Hz, default 160]
  3. Upper cutoff frequency: [20 - 20000 Hz, default 2560]
  4. LFO starting phase: [-180 to + 180 degrees, default 0]

Example clips 1 - 3: LFO frequency of 0.2 Hz, lower frequency 320 Hz, upper frequency 1280 Hz, applied to white noise once, twice and three times respectively.
Example clip 4: LFO frequency of 1.0 Hz, lower frequency 320 Hz, upper frequency 1280 Hz, applied to 640 Hz square wave.



Low Pass Filter with Q (lowpass2.ny) View  | Download 

A low pass filter with q, or resonance. A low pass filter attenuates frequencies above a given cut-off point. The higher q is, the more the cut-off frequency will resonate (produce a tone). Applied to white noise, both this filter and the high pass filter with Q can be used to produce wind-like sounds at a constant frequency. See the low pass filter (LFO) and high pass filter (LFO) for ability to modulate a fixed resonance cut-off frequency.

  1. Cutoff frequency: [20 - 10000 Hz, default 1000]
  2. Filter q (resonance): [0 - 5, default 1]



Multiband EQ (multibandeq.ny) View  | Download 

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.



Mutron (mutron.ny) View  | Download 

Author: Steven Jones. Loosely based on the Mutron stomp box from the late 70's. Basically it is a filter controlled by an envelope follower.

Parameters:

  1. Center/Cutoff: [0 - 10000 Hz, default 100] - sets the static filter frequency
  2. Depth: [-10000 - +10000 Hz, default 5000] - sets the negative or positive filter modulation depth
  3. Band Width: [50 - 400 Hz, default 100] - controls the resonance, lower values being more resonant
  4. Mode: [0="Low" 1="High" 2="Notch" 3="Band" (default)] - sets the filter mode: 0 = "Low pass", 1 = High pass, 2 = Band Reject (cut a notch at the filter frequency), 3 = Band Pass



Notch Filter (notch.ny) View  | Download 

Like its name suggests, a notch filter cuts out a "notch" in the spectrum of your audio. The default frequency (60 Hz) is great for removing 60 Hz electrical hum, which recordings can often pick up.

Parameters:

  1. Default choice: [choose "0"= 60 Hz, 1= 50 Hz or 2= alternative frequency - set this in next parameter]
  2. Notch frequency: [20 - 20000 Hz, default 60 Hz]
  3. Notch q: [0.01 - 5.00, default 1.00] - determines the width of the notch. Below 1 creates a wider notch, above 1 creates a narrower notch.



Panning (pan.ny) View  | Download  | MP3 example clip 

Audacity Beta now lets you pan with the keyboard instead of the mouse, but if you are still using 1.2.x, or prefer the pan to modify the waveform immediately, this plug-in will statically pan your stereo audio anywhere between left and right channels. There is only one parameter:

  1. Pan position: [0=left, 1=right, default is 0.5 (center-panned)]



Delay with Pitch Change (delaypit.ny) View  | Download  | MP3 example clip 1  | clip 2 

A delay plug-in except, each delay is pitch shifted. Note that pitch changes are accompanied by a corresponding change in duration of each delay.

Parameters:

  1. Decay amount: [0 - 24 dB, default 0]
  2. Delay time: [0 - 5 seconds, default 0.5]
  3. Number of echoes: [1 - 30, default 10]
  4. Pitch change factor: [1.001 - 3.0, default 1.1]
  5. Pitch: increase or decrease: [default = increase] - whether each delay is increased or decreased in pitch
  6. Normalization level: [0.0 - 1.0, default 0.95]



Ramp Panning (panramp.ny) View  | Download 

Evenly pan your stereo audio, starting at one point in the stereo field and ending at another. -10 corresponds to 100% left, 0 to center and +10 to 100% right.

Parameters:

  1. Start position: from [where -10 - +10, default -10]
  2. End position: from [where -10 - +10, default +10]



Random Amplitude Modulation (randomamp.ny) View  | Download 

Similar to Random Panning, this time playing around with the volume knob. Because of the way the random signal is generated, the lower the maximum speed is, the higher the depth factor must be to produce a similar depth of amplitude changes.

Parameters:

  1. Max amp sweep speed: [0.01 - 20.0 Hz, default 0.5] - maximum speed of the random amplitude changes
  2. Amp sweep depth factor: [1 - 300, default 80] - how extreme the random amplitude changes are



Random Low Pass Filter (randomlp.ny) View  | Download 

Like someone is playing around with the cutoff frequency knob of your low pass filter. Because of the way the random signal is generated, the lower the maximum speed is, the higher the depth factor must be to produce a similar depth of filtering changes. If you generate white noise then apply this effect, you can to some extent simulate constant pitch wind noise.

Parameters:

  1. Max filter sweep speed: [0.01 - 10.0 Hz, default 0.2] - maximum speed of the random filter cut-off changes
  2. Filter depth factor: [1 - 300, default 20] how extreme the random filter cut-off changes are
  3. Maximum cutoff frequency: [20 - 5000 H, default 2000] - the filter's maximum cut-off frequency



Random Panning (panrand.ny) View  | Download 

Like someone is playing around with the panning knob. Requires an unsplit stereo track.

Parameters:

  1. Maximum random panning speed: [0.01 - 10 Hz, default 0.2] - how fast the random panning changes occur
  2. Maximum stereo width: [0 - 100 percent, default 100] - how far away from center the signal is panned. 0% gives no panning, 100% results in the signal being randomly panned between hard left and hard right pan positions.



Random Pitch Modulation (randompitch.ny) View  | Download 

Randomly modulates the pitch of your audio. As with other randomly-controlled effects, the the lower the maximum speed is, the higher the depth factor must be to produce a similar depth of random changes. This effect works on mono and stereo audio. In stereo, each channel has different random pitch modulation applied. "Max pitch mod depth" can be explained thus: at higher warping depth settings, pitch mod depth should be made higher, otherwise there will be momentary periods without pitch changes. With lower warping depth settings this does not happen, and the effect can be re-applied repeatedly to give further random pitch changes.

Parameters:

  1. Warping depth: [0.001 - 2.000, default 0.100] - controls the number of pitch changes that occur
  2. Max sweep speed: [0.01 - 20.0 Hz, default 0.50] - maximum speed of the random pitch changes, higher values increase "warbling" effect
  3. Sweep depth factor: [1 - 300, default 80] - how far
  4. Max pitch mod depth: [0.01 - 3.00, default 0.50]



Reverse Bouncing Ball Delay with Tone Shift (rbbdtone.ny) View  | Download  | MP3 example clip 1  | clip 2 

The fastest bounces come first - reverse of the bouncing ball delay, and each bounce is tone shifted. Note: The latest available delay.ny 3  (for Audacity Beta only) includes reverse bouncing ball delay and pitch shifting.

Parameters:

  1. Decay amount: [0.00 - 5.00 dB, default 0.05]
  2. Delay time: [0.01 - 1.00 seconds, default 0.02]
  3. Number of bounces: [1 - 100, default 15]
  4. Tone shift (whole): [-24 - +24 semitones, default -1]
  5. Tone shift (cents): [-100 - +100, default 0]



Reverse Bouncing Ball Delay (delayreb.ny) View  | Download  | MP3 example clip 

The fastest bounces come first, gradually slowing down - reverse of the bouncing ball delay effect. Includes normalisation. Note: The latest available delay.ny 3  (for Audacity Beta only) includes reverse bouncing ball delay without normalisation, and also includes pitch shifting.

Parameters:

  1. Decay amount: [0.00 - 5.00 dB, default 0.50]
  2. Delay time: [0.01 - 1.00 seconds, default 0.05]
  3. Number of bounces: [1 - 100, default 15]



/////Audio Sample Sequencer 1.b (sequencer1b.ny) View  | Download  | MP3 example clip 1  | clip 2  | clip 3 

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 enerate (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.



Tempo Change (tempo.ny) View  | Download  | MP3 example clip 

For those who are confused by Audacity's "Change Speed" effect where to make the tempo twice as slow you apply a -50% change and to make it twice as fast apply a 100% change, try this plug-in. Its default settings multiply the tempo by 0.5, making the tempo twice as slow (dividing by 2.0 has the same effect). To make the tempo twice as fast, simply multiply by 2.0 (or divide by 0.5). The default setting (the opposite of Audacity's "Change Speed" default) might be handy for example to return tapes dubbed at 2x speed to normal speed.

Parameters:

  1. Tempo change factor: [0.1 to 8.0, default 0.5]
  2. Multiply or divide: [0=multiply (default), 1=divide] - multiplies or divides by the tempo change number.



Time Shifter (timeshif.ny) View  | Download 

A plug-in for performing the same task as the Time Shift Tool in Audacity, without using a mouse. The effect works thus: if the shift value is positive, silence is inserted before the selection. If the shift value is negative, audio is removed from the start of the selection. If your selected track is mono, set the value in the left/mono edit field, if your track is stereo, set the values in both the left/mono and right channel shift value fields. Setting slightly different values in both fields when you have a stereo track can be used for special effect.

Note that positive shifts can lead to the audio being truncated at the right edge when shifting a stereo track. To avoid this, split the stereo track using the Track Drop-down Menu, select each track in turn and apply the shift you want using the Mono/left channel shift field. If the audio starts after time zero and is preceded by empty space, convert the empty space to silence with Project > Quick Mix (Tracks > Mix and Render in 1.3.x). This prevents truncation of the audio providing there is sufficient silence at the start of the track.

Parameters:

  1. Mono/left channel shift: [-1000 - +1000, default 0]
  2. Right channel shift: [-1000 - +1000, default 0]
  3. [0=milliseconds 1=seconds] (default is milliseconds)

Delay with Tone Shift (tonedelay.ny) View  | Download 

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.)


Turntable Warping MS (turntablewarp-ms.ny) View  | Download 

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.



Turntable Warping (turntablewarp.ny) View  | Download 

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.



Stereo Widener (widener.ny) View  | Download 

Gives the illusion of widening stereo audio. The effect produces different results depending on whether you are listening to the audio through speakers or headphones, and the distance stereo speakers are apart. The widener works by inverting both left and right channels of stereo audio, then panning those inverted signals somewhere between the center pan position and the opposite channel.

Parameters:

  1. Inverted signal volume: [-48 dB - -6 dB, default -18 dB]
  2. Pan position: [0 (center) to -100 (opposite channel), default 0]
  3. Time offset: [0 - 20 ms, default 0] - applying an offset can enhance the illusion.



Broadcast Limiter II (RFT-Limiter-II.ny) View  | Download 

Gives you the possibility to overdrive an Audacity track without introducing ugly digital distortion noise. The Limiter cuts all peaks above the given threshold, rounds the edges to avoid ugly distortion, while simultaneously amplifying the whole track to the maximum limit.

Parameters:

  1. Threshold: sets the 'cutting edge' in a linear volume number from 0.0 to 1.0

The minimum threshold is -90dB, so you can set the threshold slider to 0.0 and listen to 1-bit of a 16-bit recording if you want. The plugin has no memory limits, it can process audio tracks of several hours length without problems.



Broadcast Limiter III (RFT-Limiter-III.ny) View  | Download 

Is in principle the same as 'Broadcast Limiter II', but adds an Exciter to control or intensify the high-range distortion. This function is often desired by musicians to make e.g. electric guitars or drum sets sound more aggressive.

Parameters:

  1. Exciter: controls the high-range distortion in linear numbers from 1 to 10
  2. Threshold: sets the 'cutting edge' in a linear volume number from 0.0 to 1.0

The plugin has no memory limits, it can process audio tracks of several hours length without problems.

Analysis plug-ins

Selection Duration (duration.ny) View  | Download 

This plug-in gives the duration of audio you have selected, in either time units or samples as preferred. The current Audacity 1.3.x Beta has a Selection Bar providing a screen-reader friendly display of selection start time and duration, but if you're using 1.2.x with a screen reader, this plug-in provides an easy solution. If you have opened or imported more than one track and have not yet done a Quick Mix, the duration of each track loaded into Audacity is given in the order it appears on the screen. Simply press ENTER after each track duration is given. The final screen gives information from Nyquist, which you can ignore. Simply press ENTER again to return to the regular Audacity screen.



Regular Interval Labels (equalabl.ny) View  | Download 

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.

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.



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.



Utilities

Nyquist Generate Prompt (generate.ny) View  | Download 

Co-authors: David Sky, Steven Jones and Edgar-RFT. Nyquist Generate Prompt makes it easy for Nyquist developers to test their code for "Generate" plug-ins in one step, unlike the Nyquist Prompt built into Audacity under the Effect menu, which requires several steps including pre-loading audio to test. Simply type your Nyquist generate code into the edit fields, then TAB or SHIFT + TAB from one edit line to the next or previous line. ENTER then sends your Nyquist Generate code to be processed directly.

For example:

(lp (noise 10) (pwl 0 5000 10 100 10))

generates 10 seconds of white noise with a lowpass filter sweeping down from 5 kHz to 100 Hz.



included in Audacity

Risset Drum

Vocal Remover 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.


One useful Nyquist plug-in already included in Audacity is Alex S.Brown's Silence Finder (Analyze > Silence Finder). It allows you to split up long recordings containing multiple tracks into separately exportable audio files by labelling the silences between the tracks. There is a tutorial on this process here. A work-in-progress version  of this plug-in will aim in the future to label the start and end points of the tracks, so allowing users to export just the tracks rather than the tracks plus the silences in between them.