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478 lines
10 KiB
HTML
478 lines
10 KiB
HTML
<H1>CMT Library Plugins</H1>
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<P>The following plugins are provided in the CMT library:</P>
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<TABLE BORDER=1>
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<TR>
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<TH>Plugin ID</TH>
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<TH>Plugin Label</TH>
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<TH>Description</TH>
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</TR>
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<TR>
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<TD>1051</TD>
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<TD>lpf</TD>
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<TD>Low Pass Filter (One Pole).</TD>
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</TR>
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<TR>
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<TD>1052</TD>
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<TD>hpf</TD>
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<TD>High Pass Filter (One Pole).</TD>
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</TR>
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<TR>
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<TD>1053</TD>
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<TD>delay_0.01s</TD>
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<TD>Echo Delay Line. The delay time may be varied up to 0.01
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seconds. No feedback is provided.</TD>
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</TR>
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<TR>
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<TD>1054</TD>
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<TD>delay_0.1s</TD>
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<TD>Echo Delay Line. The delay time may be varied up to 0.1
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seconds. No feedback is provided.</TD>
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</TR>
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<TR>
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<TD>1055</TD>
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<TD>delay_1s</TD>
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<TD>Echo Delay Line. The delay time may be varied up to 1
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second. No feedback is provided.</TD>
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</TR>
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<TR>
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<TD>1056</TD>
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<TD>delay_5s</TD>
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<TD>Echo Delay Line. The delay time may be varied up to 5
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seconds. No feedback is provided.</TD>
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</TR>
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<TR>
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<TD>1057</TD>
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<TD>delay_60s</TD>
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<TD>Echo Delay Line. The delay time may be varied up to 60
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seconds. No feedback is provided.</TD>
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</TR>
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<TR>
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<TD>1058</TD>
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<TD>fbdelay_0.01s</TD>
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<TD>Feedback Delay Line. The delay time may be varied up to 0.01
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seconds.</TD>
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</TR>
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<TR>
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<TD>1059</TD>
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<TD>fbdelay_0.1s</TD>
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<TD>Feedback Delay Line. The delay time may be varied up to 0.1
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seconds.</TD>
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</TR>
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<TR>
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<TD>1060</TD>
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<TD>fbdelay_1s</TD>
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<TD>Feedback Delay Line. The delay time may be varied up to 1
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second.</TD>
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</TR>
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<TR>
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<TD>1061</TD>
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<TD>fbdelay_5s</TD>
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<TD>Feedback Delay Line. The delay time may be varied up to 5
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seconds.</TD>
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</TR>
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<TR>
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<TD>1062</TD>
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<TD>fbdelay_60s</TD>
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<TD>Feedback Delay Line. The delay time may be varied up to 60
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seconds.</TD>
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</TR>
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<TR>
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<TD>1063</TD>
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<TD>sine_faaa</TD>
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<TD>Sine Oscillator. Frequency input is audio, Amplitude input is
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audio.</TD>
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</TR>
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<TR>
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<TD>1064</TD>
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<TD>sine_faac</TD>
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<TD>Sine Oscillator. Frequency input is audio, Amplitude input is
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control.</TD>
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</TR>
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<TR>
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<TD>1065</TD>
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<TD>sine_fcaa</TD>
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<TD>Sine Oscillator. Frequency input is control, Amplitude input is
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audio.</TD>
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</TR>
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<TR>
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<TD>1066</TD>
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<TD>sine_fcac</TD>
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<TD>Sine Oscillator. Frequency input is control, Amplitude input is
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control.</TD>
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</TR>
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<TR>
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<TD>1067</TD>
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<TD>amp_mono</TD>
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<TD>Amplifier (Mono).</TD>
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</TR>
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<TR>
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<TD>1068</TD>
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<TD>amp_stereo</TD>
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<TD>Amplifier (Stereo).</TD>
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</TR>
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<TR>
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<TD>1069</TD>
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<TD>noise_source_white</TD>
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<TD>Noise Source (White).</TD>
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</TR>
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<TR>
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<TD>1070</TD>
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<TD>am</TD>
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<TD>Amplitude Modulator.</TD>
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</TR>
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<TR>
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<TD>1071</TD>
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<TD>mixer</TD>
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<TD>Mixer (Stereo to Mono).</TD>
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</TR>
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<TR>
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<TD>1072</TD>
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<TD>compress_peak</TD>
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<TD>Simple Compressor (Peak Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1073</TD>
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<TD>compress_rms</TD>
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<TD>Simple Compressor (RMS Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1074</TD>
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<TD>expand_peak</TD>
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<TD>Simple Expander (Peak Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1075</TD>
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<TD>expand_rms</TD>
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<TD>Simple Expander (RMS Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1076</TD>
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<TD>limit_peak</TD>
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<TD>Simple Limiter (Peak Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1077</TD>
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<TD>limit_rms</TD>
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<TD>Simple Limiter (RMS Envelope Tracking).</TD>
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</TR>
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<TR>
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<TD>1078</TD>
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<TD>track_peak</TD>
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<TD>Envelope Tracker (Peak).</TD>
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</TR>
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<TR>
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<TD>1079</TD>
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<TD>track_rms</TD>
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<TD>Envelope Tracker (RMS).</TD>
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</TR>
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<TR>
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<TD>1080</TD>
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<TD>track_max_peak</TD>
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<TD>Envelope Tracker (Maximum Peak).</TD>
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</TR>
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<TR>
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<TD>1081</TD>
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<TD>track_max_rms</TD>
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<TD>Envelope Tracker (Maximum RMS).</TD>
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</TR>
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<TR>
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<TD>1082</TD>
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<TD>peak</TD>
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<TD>Peak Monitor.</TD>
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</TR>
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<TR>
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<TD>1083</TD>
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<TD>null_ci</TD>
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<TD>Null Plugin (Control Input).</TD>
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</TR>
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<TR>
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<TD>1084</TD>
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<TD>null_ai</TD>
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<TD>Null Plugin (Audio Input).</TD>
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</TR>
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<TR>
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<TD>1085</TD>
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<TD>null_co</TD>
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<TD>Null Plugin (Control Output).</TD>
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</TR>
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<TR>
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<TD>1086</TD>
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<TD>null_ao</TD>
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<TD>Null Plugin (Audio Output).</TD>
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</TR>
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<TR>
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<TD>1087</TD>
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<TD>encode_bformat</TD>
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<TD>B-Format Encoder. This plugin encodes ambisonic B-Format audio
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using the inverse square law but no filtering, reverb or delay.</TD>
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</TR>
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<TR>
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<TD>1088</TD>
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<TD>encode_fmh</TD>
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<TD>FMH-Format Encoder. This plugin encodes ambisonic FMH-Format audio
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using the inverse square law but no filtering, reverb or delay.</TD>
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</TR>
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<TR>
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<TD>1089</TD>
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<TD>fmh2bf</TD>
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<TD>FMH-Format to B-Format. This plugin simply discards the R, S, T, U
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and V channels but is included for clarity.</TD>
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</TR>
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<TR>
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<TD>1090</TD>
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<TD>bf2stereo</TD>
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<TD>B-Format to Stereo Ambisonic Decoder. This plugin only actually
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uses its W and Y input signals and does not use UHJ.</TD>
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</TR>
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<TR>
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<TD>1091</TD>
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<TD>bf2quad</TD>
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<TD>B-Format to Quad Ambisonic Decoder. This plugin only actually uses
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its W, Y and Z input signals.</TD>
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</TR>
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<TR>
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<TD>1092</TD>
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<TD>bf2cube</TD>
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<TD>B-Format to Cube Ambisonic Decoder.</TD>
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</TR>
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<TR>
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<TD>1093</TD>
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<TD>bf2oct</TD>
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<TD>FMH-Format to Octagon Ambisonic Decoder. This plugin only actually
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uses its W, X, Y, U and V inputs.</TD>
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</TR>
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<TR>
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<TD>1094</TD>
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<TD>bf_rotate_z</TD>
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<TD>B-Format Rotation (Horizontal). This plugin rotates an B-Format
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encoded soundfield around the Z-axis.</TD>
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</TR>
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<TR>
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<TD>1095</TD>
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<TD>fmh_rotate_z</TD>
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<TD>FMH-Format Rotation (Horizontal). This plugin rotates an
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FMH-Format encoded soundfield around the Z-axis.</TD>
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</TR>
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<TR>
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<TD>1096</TD>
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<TD>grain_scatter</TD>
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<TD>Granular Scattering Processor. This plugin generates an output
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audio stream by scattering short `grains' of sound from an input
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stream. It is possible to control the length and envelope of these
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grains, how far away from their source time grains may be scattered
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and the density (grains/sec) of the texture produced.</TD>
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</TR>
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<TR>
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<TD>1097</TD>
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<TD>wsshape_sine</TD>
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<TD>Wave Shaper (Sine-Based).</TD>
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</TR>
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<TR>
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<TD>1098</TD>
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<TD>identity_audio</TD>
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<TD>Identity (Audio).</TD>
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</TR>
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<TR>
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<TD>1099</TD>
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<TD>identity_control</TD>
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<TD>Identity (Control).</TD>
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</TR>
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<TR>
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<TD>1123</TD>
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<TD>freeverb3</TD>
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<TD>Freeverb (Version 3). This reverb unit is a direct port of the
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free public domain source code available from <A
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HREF="http://www.dreampoint.co.uk">Jezar at Dreampoint</A>.</TD>
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</TR>
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<TR>
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<TD>1221</TD>
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<TD>analogue</TD>
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<TD>Analogue Synthesizer Voice. Contains two audio oscillators, one LFO,
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and three ADSRs. There are five waveforms available for the DCOs:
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Sine, Triangle, Square, Sawtooth, and Fullwave rectified sine. The DCOs
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may be frequency modulated and/or pulse width modulated by the LFO.</TD>
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</TR>
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<TR>
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<TD>1222</TD>
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<TD>organ</TD>
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<TD>Organ Voice with Configurable Harmonics. The user may control the
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loudness of the harmonics. There are three additional tones that may
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be enabled and combined: brass, flute, and reed. Two ADSRs control
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the envelope for the upper and lower harmonics.</TD>
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</TR>
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<TR>
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<TD>1223</TD>
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<TD>syndrum</TD>
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<TD>Drum Synthesizer.</TD>
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</TR>
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<TR>
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<TD>1224</TD>
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<TD>vcf303</TD>
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<TD>VCF 303. A TB-303 resonant filter clone.</TD>
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</TR>
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<TR>
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<TD>1225</TD>
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<TD>canyon_delay</TD>
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<TD>Canyon Delay. A deep stereo crossdelay with built-in low pass
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filters.</TD>
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</TR>
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<TR>
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<TD>1226</TD>
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<TD>phasemod</TD>
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<TD>Phase Modulated Synthesizer Voice. Contains six audio oscillators, each
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oscillator phase modulates the next. If a modulation coefficient is zero,
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then the former oscillator's output is summed with the module's output.
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DCO1's phase modulation parameter specifies an offset not a coefficient.
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Example modulation parameters {1.0, 0.5, 0.0, 0.5, 0.2, 0.0} for all
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six oscillators results in the output function: DCO2 (phase = DCO1 (phase =
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1.0) * 0.5) + DCO5 (phase = DCO4 (phase = DCO3 (phase = 0.0) * 0.5) * 0.2) +
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DCO6 (phase = 0.0). Each oscillator's output is bounded by -1.0 and 1.0,
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or -360<SUP>o</SUP> and 360<SUP>o</SUP>.</TD>
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</TR>
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<TR>
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<TD>1227</TD>
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<TD>lofi</TD>
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<TD>Lo Fi. Simulates old audio equipment. Adds distortion,
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bandwidth limiting, compression, and crackling to audio.</TD>
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</TR>
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<TR>
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<TD>1841</TD>
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<TD>pink_interpolated_audio</TD>
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<TD>Interpolated pink noise. Pink noise is a kind of random
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one-dimensional fractal. This plugin approximates the effect of an
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extreme low pass filter on a pink noise signal. It is useful as a
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natural-sounding continuously varying control signal with long-term
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trends as well as short-term variation. If you use it to control the
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pitch of a sine wave it can sound a bit like wind blowing. Notice that
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the average value tends to gradually drift over long periods of
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time. This is in the nature of pink noise, and so can't be
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helped.</TD>
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</TR>
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<TR>
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<TD>1843</TD>
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<TD>pink_sh</TD>
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<TD>Sample and hold pink noise. Similar to pink, but with stepped
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instead of interpolated output.</TD>
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</TR>
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<TR>
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<TD>1844</TD>
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<TD>pink_full_frequency</TD>
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<TD>Pink noise simulation with a full frequency range. You can low
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pass filter this to get a similar effect to the interpolated pink
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noise generator.</TD>
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</TR>
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<TR>
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<TD>1845</TD>
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<TD>hard_gate</TD>
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<TD>Hard noise gate. If the absolute value of the signal falls below
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"threshold", it is set to zero. There is no antialiasing.</TD>
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</TR>
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<TR>
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<TD>1846</TD>
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<TD>disintegrator</TD>
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<TD>Amplifies random half-cycles of it's input by multiplier. Set
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multiplier to 0 and vary probability for a weird fade effect, or set
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multiplier to -1 and probability to 0.5 to turn pitched sounds into
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noise.</TD>
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</TR>
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<TR>
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<TD>1848</TD>
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<TD>sledgehammer</TD>
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<TD>A Dynamic Sledgehammer, which you can use to bash your signals
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into shape. It's basically a very simple and heavy compressor with a
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sidechain. Try it with a pad sound as the carrier and a drum loop as
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the modulator. Also, you can get some nice "Satan Maximiser"-style
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distortion by not connecting the modulator (set it's influence to 0)
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and putting the rate up to around 0.1.</TD>
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</TR>
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<TR>
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<TD>1849</TD>
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<TD>logistic</TD>
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<TD>Logistic Map chaotic stepped control generator. The logistic map
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is a classic example from chaos theory. It can be summarised by the
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formula <pre>x := r*x*(1-x).</pre> With r<3, x just converges to a
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constant value. With r just greater than 3 it oscillates with period
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2. at about 3.45 the period doubles again to 4. These period doublings
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occur at smaller and smaller increments of r, until at about 3.5699
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there have been an infinite number and the signal never
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repeates. Between this value and 4 the system exhibits chaotic
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behaviour (although there are regions of periodicity). Papers are
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still being published today on the subject of this system's
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behaviour. This plugin iterates this map at a given frequency to
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produce a stepped signal, which is scaled to lie in the range
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(-1,1). When this signal is used as a frequency control it can
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sometimes sound quite musical.</TD>
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</TR>
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</TABLE>
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<P>"Ambisonics" is a registered trademark of Nimbus Communications
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International.</P>
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