commit 7732efc72d405e5cd44dd7467d04af6d545c4098
parent 4c93218559ec43945b4d708f75939669fb9fc086
Author: fundamental <mark.d.mccurry@gmail.com>
Date: Sat, 11 Jul 2009 10:51:19 -0400
Merge branch 'asciidoc'
Diffstat:
20 files changed, 610 insertions(+), 224 deletions(-)
diff --git a/doc/Makefile b/doc/Makefile
@@ -0,0 +1,35 @@
+all: xhtml
+
+xhtml: zynaddsubfx.txt envelope.txt intro.txt lfo.txt
+ asciidoc -a numbered -a toc -b xhtml11 \
+ --conf-file=myconf.conf zynaddsubfx.txt
+
+chunked:
+ asciidoc --doctype=article -b docbook \
+ --conf-file=myconf.conf zynaddsubfx.txt
+ mkdir ./zynaddsubfx.chunked
+ rm -f "./zynaddsubfx.chunked/*.html"
+ ln -s ../images/ zynaddsubfx.chunked/images
+ cd "."
+ xsltproc --stringparam html.stylesheet "./docbook-xsl.css" \
+ --stringparam callout.graphics 0 \
+ --stringparam navig.graphics 0 \
+ --stringparam admon.textlabel 1 \
+ --stringparam admon.graphics 0 \
+ --nonet \
+ --stringparam base.dir "zynaddsubfx.chunked/" \
+ "/etc/asciidoc/docbook-xsl/chunked.xsl" \
+ "./zynaddsubfx.xml" \
+
+pdf:
+ asciidoc -b latex --conf-file=myconf.conf zynaddsubfx.txt
+ grep -v figure zynaddsubfx.tex | \
+ sed -e 's~^\\includegraphics~\\par\\noindent\{\} \\includegraphics~' | \
+ sed -e 's~includegraphics\[\]~includegraphics[scale=0.5]~' > tmp.tex
+ mv tmp.tex zynaddsubfx.tex
+ latex zynaddsubfx.tex
+
+clean:
+ rm -f *~ *html *pdf *xml *tex *log zynaddsubfx.chunked/images
+ rm -r -f zynaddsubfx.chunked/
+
diff --git a/doc/build.txt b/doc/build.txt
@@ -0,0 +1,58 @@
+Building ZynAddSubFX
+====================
+
+Introduction to CMake
+---------------------
+
+********************************************************************
+Note: This section is mostly copied from the OpenSceneGraph wiki, at:
+http://www.openscenegraph.org/projects/osg/wiki/Build/CMake
+********************************************************************
+
+ZynAddSubFX uses CMake as its unified build system. CMake
+is able to read simple build scripts from the source tree and create
+from this a platform-specific build system. This build system can be in
+the form of VisualStudio project files, Unix Makefiles or XCode project
+files. CMake is able to automatically locate external dependencies, and
+allows you to toggle on/off module compilation and configure various
+build options.
+
+The use of a unified build system has allowed to avoid build breakages
+that were common in the previous build method of maintaining three
+separate build targets for VisualStudio, Unix "make" and XCode. It also
+reduces the maintenance burden for core developers and contributors.
+Taken together usage of CMake should result in better consistency and
+more stable builds across all platforms for end users and a greater
+productivity in development of new versions. Hopefully with greater
+consistency of builds across platforms it will be easier for developers
+to use the development version of ZynAddSubFX and help contribute
+to its testing and refinement, leading to a high-quality code base.
+
+Quick start guide
+-----------------
+
+For the impatient ones, here is a quick guide on how to immediately
+build ZynAddSubFX from source.
+---------------------------------
+#enter the source directory
+cd zynaddsubfx
+
+#make a directory for an out-of-source build
+mkdir build
+cd build
+
+#generate a cmake build project here from the cmake root, which is
+#found in the directory below the current one
+cmake ..
+
+#OPTIONAL: Adjust compile variables in the Cache file:
+$EDITOR CMakeCache.txt
+
+#And finally, build as usual using make
+make
+---------------------------------
+
+Customizing the build
+---------------------
+
+
diff --git a/doc/controller.txt b/doc/controller.txt
@@ -0,0 +1,55 @@
+Controller
+=========
+:Author: Paul Nasca
+
+image::./images/uicontroller.png[]
+
+General
+-------
+
+* *ModWh*: Modullation Wheel depth
+* *Exp MWh*: Exponental Modulation Wheel (changes modulation scale to
+ exponental)
+* *BwDpth*: Bandwidth Depth
+* *Exp BW*: Exponental Bandwidth (changes badwidth scale to exponental)
+* *PanDpth*: Panning Depth
+* *FltQ*: Filter Q (ressonance) depth
+* *FltCut* Filter Cutoff frequency depth
+* *Expr*: enable/disable expression
+* *Vol*: enable/disable receiving volume controller
+* *FMamp*: enable/disable receiving Modulation Amplitude controller (76)
+* *Sustain*: enable/disable sustain pedal
+* *PWheelB.Rng (cents)*: Pitch Wheel Bend Range (cents; 100 cents = 1 halftone)
+
+Portamento
+----------
+
+* *Rcv.*: If the part receives portamento On/Off (65) controller
+* *time*: The duration of the portamento
+* *thresh*: The threshold of the portamento.
+It represents the minimum or the maximum number of halftones
+(or hundried cents) required to start the portamento.
+The difference is computed between the last note and current note.
+* *th.type*: The threshold type.
+Checked means that the portamento activates when the difference of frequencies
+is above the threshold ("thresh"); not checked is for below the threshold.
+
+NOTE: The threshold refers to the frequencies and not to MIDI notes
+ (you should consider this if you use microtonal scales).
+
+
+Proportinal Portamento
+~~~~~~~~~~~~~~~~~~~~~~
+////
+TODO: add graphs to explain prp.rate and prp. depth
+////
+
+* *Propt.*: If the portamento is proportinal to ratio of frequencies
+* *Prp. Rate*: Ratio needed to double the time of portamento
+* *Prp. Dpth*: The divergence from
+
+Resonance
+---------
+
+* *CFdpth*: resonance center controller depth
+* *BWdpth*: resonance bandwidth controller depth
diff --git a/doc/envelope.txt b/doc/envelope.txt
@@ -0,0 +1,132 @@
+Envelopes
+=========
+:Author: Paul Nasca
+
+Introduction
+------------
+Envelopes control how the amplitude, the frequency, or the
+filter changes over time.
+
+Amplitude Envelopes
+-------------------
+
+These envelopes controls the amplitude of the sound.
+In ZynAddSubFX, amplitude envelopes can be linear or logarithmic.
+In the next image, it is shown the differences between these envelopes.
+
+image::images/envelope1.png[Alt text]
+
+The amplitude envelope is divided into:
+
+* *Attack*: Begins at the Note On. The volume starts from 0 to the maximum.
+In ZynAddSubFX, the attack is always linear.
+* *Decay*: The volume drops from the maximum value to a level called "Sustain level"
+* *Sustain*: The volume remains constant until the key is depressed (Note Off).
+After this, the last stage take place.
+* *Release*: The volume drops to zero
+
+
+Frequency Envelopes
+-------------------
+
+These envelopes controls the frequency (more exactly, the pitch) of
+the oscillators.
+The following picture draws the stages of these envelopes.
+
+image::images/envelope2.png[Alt text]
+
+The dotted line represents the real pitch of the sound without the
+envelope.
+
+The frequency envelopes are divided into 3 stages:
+
+* *Attack*: Begins at the Note On. The frequency starts from a certain value and
+glides to the real frequency of the note.
+* *Sustain*: The frequency is the same on over the sustain period
+* *Release*: This stage begins on Note Off and glides the frequency of the note
+to a certain
+value
+
+Filter Envelopes
+----------------
+These envelopes controls the cutoff frequency of the filters and are divided
+into
+
+image:images/envelope3.png[Alt Text]
+
+* *Attack*: Begins at the Note On. The cutoff frequency starts from a certain value and glides to another value
+* *Decay*: The cutoff frequency continues to glide to the real cutoff frequency value of the filter (dotted line)
+* *Sustain*: the cutoff frequency is the same on over the sustain period (dotted line)
+* *Release*: this stage begins on Note Off and glides the filter cutoff frequency of the note to a certain value
+
+Freemode Envelopes
+------------------
+
+For all envelope there is a mode that allows the user to set an arbitrary number of stages and control points. This mode is called Freemode.
+
+image:images/envelope4.png[Alt Text]
+
+Only stage that always remains defined is the Sustain, where the envelopes freezes until a Note Off event.
+
+User Interface
+--------------
+All the envelope types has some common controls:
+
+* *E*: Shows a window that you can view the real envelope shape or convert to free mode to edit it
+* *Stretch*: How the envelope is stretched according the note.
+On the higher notes the envelopes are shorter than lower notes.
+In the leftmost value, the stretch is zero.
+The rightmost use a stretch of 200%; this means that the envelope is stretched about 4 times/octave.
+* *frcR*: Forced release.
+This means that if this option is turned on, the release will go to the final value, even if the sustain stage is not reached. Usually, this must be set.
+
+
+The parameters for Amplitude Envelopes for ZynAddSubFX are:
+
+image:images/uienvelope3.jpg[Alt Text]
+
+* *A.dt*: Attack duration
+* *D.dt*: Decay duration
+* *S.Val*: Sustain value
+* *R.dt*: Release time
+* *L*: If this option is set, the envelope is linear, otherwise, it will be
+logarithmic
+
+
+For Frequency Envelopes the interface has the following parameters:
+
+image:images/uienvelope2.jpg[Alt Text]
+
+* *A.val*: Attack value
+* *A.dt*: Attack duration
+* *R.dt*: Release time
+* *R.val*: Release value
+
+
+Filter Envelopes has the parameters:
+
+image:images/uienvelope1.jpg[Alt Text]
+
+* *A.val*: Attack value
+* *A.dt*: Attack duration
+* *D.val*: Decay value
+* *D.dt*: Decay time
+* *R.dt*: Release time
+* *R.val*: Release value
+
+The Freemode envelopes has a separate window to set the parameters and controls:
+
+image:images/uienvelope0.jpg[]
+
+* *Control points*: You can move the points using the mouse.
+In the right on the windows, it is shown the total duration of the envelope.
+If the mouse button will be pressed on a control point, it will be shown the
+duration of the stage where the point is.
+* *FreeMode*: this button activates or deactivates the freemode mode.
+* *Add Point*: Adds the point next to the current selected point.
+You can select a point by clicking on it.
+* *Delete point*: Removes the point from the envelope.
+* *Sust.*: Set the sustain point. It is shown using the yellow line.
+* *Str.*: Envelope stretch
+
+
diff --git a/doc/filter.txt b/doc/filter.txt
@@ -0,0 +1,34 @@
+Filters
+=======
+:Author: Mark McCurry
+:Date: July 5, 2009
+
+In ZynAddSubFX filters can be used at several different stages to
+increase or decrease a defined set of frequencys.
+
+Types
+-----
+
+ZynAddSubFX currently supports a wide set of filters that it can provide
+
+image:images/filter0.png[]
+
+Values
+------
+
+Each of these filters will be affected by their Q values, number of poles, and
+cutoff values.
+
+The folowing diagram shows the frequency response under different Q values:
+
+image:images/filter1.png[]
+
+The folowing diagram shows the frequency response under a different number of
+poles:
+
+image:images/filter2.png[]
+
+User Interface
+--------------
+
+A picture of the UI will go here
diff --git a/doc/images/filter0.png b/doc/images/filter0.png
Binary files differ.
diff --git a/doc/images/filter1.png b/doc/images/filter1.png
Binary files differ.
diff --git a/doc/images/filter2.png b/doc/images/filter2.png
Binary files differ.
diff --git a/doc/images/lfo0.png b/doc/images/lfo0.png
Binary files differ.
diff --git a/doc/images/lfo1.png b/doc/images/lfo1.png
Binary files differ.
diff --git a/doc/images/lfo2.png b/doc/images/lfo2.png
Binary files differ.
diff --git a/doc/images/uicontroller.png b/doc/images/uicontroller.png
Binary files differ.
diff --git a/doc/images/uilfo.jpg b/doc/images/uilfo.jpg
Binary files differ.
diff --git a/doc/intro.txt b/doc/intro.txt
@@ -0,0 +1,23 @@
+Getting Started
+===============
+
+In most cases ZynAddSubFX is used it will not alone, and it will be linked
+with other programs.
+
+MIDI
+----
+
+MIDI can be used to connect other applications to ZynAddSubFX.
+Under ALSA on Linux the standard tool to connect ZynAddSubFX's MIDI is
+aconnect.
+
+ZynAddSubFX has one incomming MIDI port.
+Once another application is connected to this port, then it should be
+able to send information on notes, pitches, and modulations to
+ZynAddSubFX.
+For more specific information see INSERT CHAPTER NAME HERE.
+
+JACK
+----
+JACK can be used to connect the output of ZynAddSubFX to other
+applications.
diff --git a/doc/lfo.txt b/doc/lfo.txt
@@ -0,0 +1,65 @@
+LFO
+===
+:author: Paul Nasca
+
+Introduction
+------------
+
+"LFO" means Low Frequency Oscillator.
+These oscillators are not used to make sounds by themselves, but they changes
+somes parameters (like the frequencies, the amplitudes or the filters).
+
+The LFOs has some basic parameters:
+
+* *Delay*: This parameter sets how much time takes since the start of the
+ note to the start of the LFO
+* *Start Phase*: The possition that a LFO will start at
+* *Frequency*: How fast the LFO is (i.e. how fast the parameter's controlled by
+ the LFO changes)
+* *Depth*: The amplitude of the LFO (i.e. how much the parameter's controlled
+ by the LFO changes)
+
+image:images/lfo0.png[]
+
+Another important LFO parameter is the shape.
+There are many LFO Types according to the shape.
+ZynAddSubFX supports the folowing LFO shapes:
+
+image:images/lfo1.png[]
+
+Another parameter is the LFO Randomness.
+It modifies the LFO amplitude or the LFO frequency at random.
+In ZynAddSubFX you can choose how much the LFO frequency or LFO amplitude
+changes by this parameter.
+In the folowing images are shown some examples of randomness and how changes
+the shape of a triangle LFO.
+
+image:images/lfo2.png[]
+
+Other parameters are:
+
+* *Continous mode*: If this mode is used, the LFO will not start from "zero" on each new note, but it will be continuous. This is very usefull if you apply on filters to make interesting sweeps.
+* *Stretch*: It controlls how much the LFO frequency changes according to the
+note's frequency.
+It can vary from negative stretch (the LFO frequency is decreased on higher
+notes) to zero (the LFO frequency will be the same on all notes) to positive
+stretch (the LFO frequency will be increased on higher notes).
+
+User Interface
+--------------
+
+In ZynAddSubFX, LFO parameters are shown as:
+
+image:images/uilfo.jpg[]
+
+Theese parameters are:
+
+* *Freq*: LFO Frequency
+* *Depth*: LFO Depth
+* *Start*: LFO Start Phase -
+If this knob is at the lowest value, the LFO Start Phase will be random.
+* *Delay*: LFO Delay
+* *A.R.*: LFO Amplitude Randomnes
+* *F.R.*: LFO Frequency Randomness
+* *C.*: LFO Continous Mode
+* *Str.*: LFO Stretch - in the image above the LFO stretch is set to zero
diff --git a/doc/mididefaults.txt b/doc/mididefaults.txt
@@ -0,0 +1,22 @@
+Appendex A: MIDI Defaults
+=========================
+
+.Default MIDI Connections
+[literal]
+001 - Modulation Wheel
+007 - Volume
+010 - Pan
+011 - Expression
+064 - Sustain
+065 - Portamento Enable
+071 - Filter Q
+074 - Filter Cutoff
+075 - Bandwidth(*)
+076 - Modulation Amplitude(*)
+077 - Resonance Center Frequency(*)
+078 - Resonance Bandwidth(*)
+120 - All Sounds Off
+121 - Reset All Controllers
+123 - All Notes Off
+
+The entries with `(*)` are not within the General Midi specification
diff --git a/doc/myconf.conf b/doc/myconf.conf
@@ -0,0 +1,3 @@
+[titles]
+
+underlines="__","==","--","~~","^^"
diff --git a/doc/nrpn.txt b/doc/nrpn.txt
@@ -0,0 +1,163 @@
+NRPN (Non Registered Parameters Number)
+=======================================
+:Author: Paul Nasca
+
+NRPNs can control all system and insertion effect parameters.
+For example, you may change the reverb time when playing to keyboard or
+flanger's lfo frequency.
+You can disable the NRPN receiving by deselecting the "NRPN" checkbox from the
+main window (near "Master Keyshift" counter).
+The controls can be sent on any midi channel
+(the midi channels numbers are ignored).
+
+The parameters are:
+
+- NRPN coarse (99 or 0x63)sets the system/insertion effects (4 for system effects or 8 for insertion effects)
+- NRPN fine (98 or 0x62)sets the number of the effect (first effect is 0)
+- Data entry coarse (6) sets the parameter number of effect to change(see below)
+- Data entry fine (26) sets the parameter of the effect
+
+You have to send NRPN coarse/fine before sending Data entry coarse/fine.
+If the effect/parameter doesn't exists or is set to none, then the NRPN is
+ignored.
+
+Example(all values in this example are hex):
+
+ B0 63 08 // Select the insertion effects
+ B0 62 01 // Select the second effect (remember: the first is 00 and not 01)
+ B0 06 00 // Select the effect parameter 00
+ B0 26 7F // Change the parameter of effect to the value 7F (127)
+
+WARNING: Changing of some of the effect parameters produces clicks when sounds
+passes thru these effects.
+I advise you to change only when the sound volume that passes thru the effect to be very low (or silence).
+Some parameters produce clicks when are changed very fast.
+
+Here are the effects parameter number (for Data entry coarse).
+The parameters that produces clicks are written in [red]#red# and have (AC)
+after their entry (always clicks).
+The parameter that produces clicks only when they are changed fast are written
+in [orange]#orange# and have a (FC) after the entry (Fast Clicks).
+Most parameters has the range from 0 to 127.
+When parameters have another range, it is written as [low...high] .
+
+Reverb
+------
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+02 - Reverb Time
+[orange]#03 - Initial Delay (FC)#
+04 - Initial Delay Feedback
+[grey]#05 - reserved#
+[grey]#06 - reserved#
+07 - Low Pass
+08 - High Pass
+09 - High Frequency Damping [64..127] 64=no damping
+[red]#10 - Reverb Type [0..1] 0 - Random, 1 - Freeverb (AC)#
+[red]#11 - Room Size (AC)#+
+
+Echo
+----
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+[red]#02 - Delay (AC)#
+[red]#03 - Delay between left and right (AC)#
+[orange]#04 - Left/Right Crossing (FC)#
+05 - Feedback
+06 - High Frequency Damp+
+
+
+Chorus
+------
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+02 - LFO Frequency
+03 - LFO Randomness
+04 - LFO Type [0..1]
+05 - LFO Stereo Difference
+06 - LFO Depth
+07 - Delay
+08 - Feedback
+[orange]#09 - Left/Right Crossing (FC)#
+[grey]#10 - reserved#
+[red]#11 - Mode [0..1] (0=add, 1=subtract) (AC)#+
+
+Phaser
+------
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+02 - LFO Frequency
+03 - LFO Randomness
+04 - LFO Type [0..1]
+05 - LFO Stereo Difference
+06 - LFO Depth
+07 - Feedback
+[red]#08 - Number of stages [0..11] (AC)#
+[orange]#09 - Let/Right Crossing (FC)#
+[red]#10 - Mode [0..1] (0=add, 1=subtract) (AC)#
+11 - Phase+
+
+AlienWah
+--------
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+02 - LFO Frequency
+03 - LFO Randomness
+04 - LFO Type [0..1]
+05 - LFO Stereo Difference
+06 - LFO Depth
+07 - Feedback
+08 - Delay [0..100]
+[orange]#09 - Left/Right Crossing (FC)#
+10 - Phase+
+
+Distorsion
+----------
+
+[verse]
++[orange]#00 - Volume or Dry/Wet (FC)#
+[orange]#01 - Pan (FC)#
+02 - Left/Right Crossing
+[orange]#03 - Drive (FC)#
+[orange]#04 - Level (FC)#
+05 - Type [0..11]
+06 - Invert the signal (negate) [0..1]
+07 - Low Pass
+08 - High Pass
+09 - Mode [0.1] (0=mono,1=stereo)+
+
+EQ
+--
+
+[verse]
++[orange]#00 - Gain (FC)#+
+
+All other settings of the EQ are shown in a different way.
+The N represent the band ("B." setting in the UI) and the first band is 0
+(and not 1), like it is shown in the UI.
+Change the "N" with the band you like.
+If you want to change a band that doesn't exist, the NRPN will be ignored.
+
+[verse]
++[red]#10+N*5 - Change the mode of the filter [0..9] (AC)#
+11+N*5 - Band's filter frequency
+12+N*5 - Band's filter gain
+13+N*5 - Band's filter Q (bandwidth or resonance)
+[grey]#14+N*5 - reserved#+
+
+Example of setting the gain on the second band:
+
+. The bands start counting from 0, so the second band is 1 => N=1.
+. The formula is 12+N*5 => 12+1*5=17, so the number of effect parameter
+. (for Data entry coarse) is 17.
+
diff --git a/doc/zynaddsubfx.sgml b/doc/zynaddsubfx.sgml
@@ -1,224 +0,0 @@
-<?xml version="1.0" encoding="utf-8"?>
-<!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.4//EN" "http://www.oasis-open.org/docbook/xml/4.4/docbookx.dtd">
-
-<book>
-
- <bookinfo>
- <title>Zynaddsubfx</title>
- <author>
- <!-- Just add yourself as an author when you work on the book -->
- <personname>
- <firstname>Paul</firstname> <surname>Nasca</surname>
- </personname>
- </author>
- <author>
- <personname>
- <firstname>Mark</firstname> <surname>McCurry</surname>
- </personname>
- </author>
-
- <abstract>
- <para>
- This document is a used to detail the features and use of
- the ZynAddSubFX synthisizer.
- </para>
- </abstract>
-
- </bookinfo>
-
- <chapter>
- <title>Introduction</title>
-
- <para>
- ZynAddSubFX is a synthisizer, which uses several components to generate
- sound.
- </para>
-
- </chapter>
-
- <chapter>
- <title>Getting Started</title>
- <para>
- In most cases ZynAddSubFX is used it will not alone, and it will be linked
- with other programs.
- </para>
- <sect1>
- <title>MIDI</title>
- <para>
- MIDI can be used to connect other applications into ZynAddSubFX.
- One standard tool to connect ZynAddSubFX with other programs is
- aconnect.
- </para>
- <para>
- ZynAddSubFX has one incomming MIDI port.
- Once another application is connected to this port, then it should be
- able to send information on notes, pitches, and modulations to
- ZynAddSubFX.
- For more specific information see INSERT CHAPTER NAME HERE.
- </para>
- </sect1>
- <sect1>
- <title>JACK</title>
- <para>
- JACK can be used to connect the output of ZynAddSubFX to other
- applications
- </para>
- </sect1>
- </chapter>
-
- <chapter>
- <title>Filters</title>
- <para>
- In ZynAddSubFX filters can be used at several different stages to
- increase or decrease a defined set of frequencys.
- </para>
- <table>
- <title>Types of Filters</title>
- <tgroup cols='3' align='left' colsep='1' rowsep='1'>
- <thead>
- <row>
- <entry>Short Name</entry>
- <entry>Full Name</entry>
- <entry>Description</entry>
- </row>
- </thead>
- <tbody>
- <row>
- <entry>LPF</entry>
- <entry>Low Pass Filter</entry>
- <entry>Higher frequencies are removed</entry>
- </row>
- <row>
- <entry>HPF</entry>
- <entry>High Pass Filter</entry>
- <entry>Lower frequencies are removed</entry>
- </row>
- </tbody>
- </tgroup>
- </table>
- </chapter>
-
- <chapter>
- <title>LFOs</title>
- <para>
- The Low Frequency Ocillators are used within ZynAddSubFX to modify the
- parameters of the Part's frequency, filter, and amplitude.
- </para>
- </chapter>
-
- <chapter>
- <title>Envelopes</title>
- <sect1>
- <title>Introduction</title>
- <para>Envelopes control how the amplitude, the frequency, or the
- filter changes over time.</para>
- <sect2>
- <title>Amplitude Envelopes</title>
- <para>
- Theese envelopes controls the amplitude of the sound.
- In ZynAddSubFX, amplitude envelopes can be linear or logarithmic.
- In the next image, it is shown the differences between these
- envelopes.
- </para>
- <mediaobject>
- <imageobject>
- <imagedata align="left" format="PNG"
- fileref="images/envelope1.png"/>
- </imageobject>
- </mediaobject>
- <para>
- The amplitude envelope is divided into:
- </para>
- <itemizedlist mark="bullet">
- <listitem>
- <para>
- Attack - begins at the Note On.
- The volume starts from 0 to the maximum.
- In ZynAddSubFX, the attack is always linear.
- </para>
- </listitem>
- <listitem>
- <para>
- Decay - the volume drops from the maximum value to a level called
- "Sustain level"
- </para>
- </listitem>
- <listitem>
- <para>
- Sustain - the volume remains constant until the key is depressed
- (Note Off).
- After this, the last stage take place.
- </para>
- </listitem>
- <listitem>
- <para>
- Release - the volume drops to zero
- </para>
- </listitem>
- </itemizedlist>
- </sect2>
- <sect2>
- <title>Frequency Envelopes</title>
- <para>
- These envelopes controls the frequency (more exactely, the pitch) of
- the oscillators.
- The folowing picture draws the stages of theese envelopes.
- <inlinemediaobject>
- <imageobject>
- <imagedata align="left" format="PNG"
- fileref="images/envelope2.png"/>
- </imageobject>
- </inlinemediaobject>
- The dotted line represents the real pitch of the sound without the
- envelope.
- The frequency envelopes are divided into 3 stages:
- </para>
- <itemizedlist mark="bullet">
- <listitem><para>
- Attack - begins at the Note On.
- The frequency starts from a certain value and glides to the
- real frequency of the note.
- </para></listitem>
- <listitem><para>
- Sustain - the frequency is the same on over the sustain period
- </para></listitem>
- <listitem><para>
- Release - this stage begins on Note Off and glides the frequency
- of the note to a certain value
- </para></listitem>
- </itemizedlist>
- </sect2>
- </sect1>
- </chapter>
-
- <chapter>
- <title>Ocillators</title>
- <para>
- The Ocillators are what generate the base sound for a part before it is
- modified.
- </para>
- </chapter>
-
- <chapter>
- <title>Types of Synthesis</title>
- <sect1>
- <title>ADDsynth</title>
- <para>
- The ADDsynth preforms additive synthisis
- </para>
- </sect1>
- <sect1>
- <title>SUBsynth</title>
- <para>
- The SUBsynth is responsible of the subtractive synthesis in ZynAddSubFX.
- </para>
- </sect1>
- <sect1>
- <title>PADsynth</title>
- <para>
- The PADsynth uses the PAD synthisis algorithm created by Paul Nasca
- </para>
- </sect1>
- </chapter>
-
-</book>
diff --git a/doc/zynaddsubfx.txt b/doc/zynaddsubfx.txt
@@ -0,0 +1,20 @@
+Zynaddsubfx
+___________
+:Author: Paul Nasca
+
+
+:titles.underlines: "__","==","--","~~","^^"
+
+include::./intro.txt[]
+
+include::./filter.txt[]
+
+include::./lfo.txt[]
+
+include::./envelope.txt[]
+
+include::./controller.txt[]
+
+include::./nrpn.txt[]
+
+include::./mididefaults.txt[]
