Differences

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--- jsfxr [2023/12/04 07:30] – renick
+++ jsfxr [2024/08/04 21:38] (current) – renick
@@ Line 1: / Line 1: @@
 ====== jsfxr: synthesizing sounds in the browser ======
-https://sfxr.me/
+Access this browser-based synthesizer here: https://sfxr.me/
-Sfxr, programmed by [[http://www.drpetter.se/project_sfxr.html|Tomas Pettersson]], and ported to JavaScript by [[https://github.com/grumdrig|Eric Fredricksen]]. Forked and improved by [[https://github.com/chr15m|Chris McCormick]]
+Sfxr was programmed by [[http://www.drpetter.se/project_sfxr.html|Tomas Pettersson]], and ported to JavaScript by [[https://github.com/grumdrig|Eric Fredricksen]]. Forked and improved by [[https://github.com/chr15m|Chris McCormick]]
-First point: make sure that you select 44k and 16 bit in the column on the right for maximum sound quality (unless you are deliberately going for the old-school vibe).
+<color #ed1c24>First point: make sure that you select 44k and 16 bit in the column on the right for maximum sound quality</color> (unless you are deliberately going for the old-school vibe).
-Second point: this synthesizer doesn't protect you. The audio it outputs may contain clicks. Be SURE to edit out any clicks, and beware of clipping as well.
+<color #ed1c24>Second point: this synthesizer doesn't protect you. The audio it outputs may contain clicks. Be SURE to edit out any clicks, and beware of clipping as well.</color>
 The concept is to pass the output of a basic oscillator through an envelope and a few effects to generate a sound. Every time you change a parameter, the sound will be played so that you can audition it.
@@ Line 36: / Line 36: @@
 This section of the interface allows you to really customize the sound and control the parameters of synthesis.
+===== serialize/deserialize =====
+Use these to get the settings as text. Once they are there, you can modify them. This is good if you want to put in a specific value. Then you can load settings from text using the deserialize button. One way to use this is to make a sound, serialize it, and send it to your friend. Then your friend can paste it in and deserialize it to get the same sound as you. In this way, you can work on the same sound or variations together with a friend remotely.
 ===== base waveform =====
@@ Line 41: / Line 45: @@
 The base waveform at the top of the interface describes what initial oscillator will be used. This decides the original characteristic of the sound.
-  - square
+  - square https://en.wikipedia.org/wiki/Square_wave
-  - sawtooth
+  - sawtooth https://en.wikipedia.org/wiki/Sawtooth_wave
-  - sine
+  - sine https://en.wikipedia.org/wiki/Sine_wave
-  - noise
+  - noise https://en.wikipedia.org/wiki/White_noise
 ===== Envelope =====
-We've discussed envelope here. This envelope control doesn't have a "release" parameter, but it has an extra "sustain punch" parameter.
+[[envelopes|We've discussed envelope here]]. This envelope control doesn't have a "release" parameter, but it has an extra "sustain punch" parameter.
 ===== Frequency =====
@@ Line 60: / Line 64: @@
 ===== vibrato =====
-Vibrato has two parameters:
+Vibrato is a kind of wobble to the frequency. https://en.wikipedia.org/wiki/Vibrato
+Vibrato has two parameters, and you'll need to raise both to hear this effect:
   - depth
   - speed
 ===== arpeggiation =====
+Arpeggiation repeats the sound at a new frequency, delayed in time. Most musical arpeggiators will repeat many times, but this one only adds one repeat.
 Arpeggiation has two parameters:
@@ Line 72: / Line 80: @@
 ===== duty cycle =====
-[[https://en.wikipedia.org/wiki/Duty_cycle|Duty cycle]] refers to how wide the high-amplitude portion of a period of the wave is. Notice that duty cycle is grayed-out for sine and noise waveforms. Duty cycle has two parameters:
+[[https://en.wikipedia.org/wiki/Duty_cycle|Duty cycle]] refers to how wide the high-amplitude portion of a period of the wave is. Notice that duty cycle is grayed-out for sine and noise waveforms. You notice its effect more on the square wave. Duty cycle has two parameters:
   - duty cycle as a percentage; you may feel that the higher the percentage, the "fatter" the sound
   - sweep as a percentage per second; the same seems to be true here: the higher the percentage, the fatter the sound. the lower the percentage, the more high-end details emerge.
@@ Line 91: / Line 99: @@
 ===== low-pass filter =====
-The low-pass filter, discussed over here, has three parameters:
+A low-pass filter cuts high frequencies. The low-pass filter has three parameters:
   - cutoff frequency: sounds below this frequency are preserved; sounds above it are reduced
   - cutoff sweep: creates an envelope on the cutoff frequency, reducing it over time. The time specified is how long it takes the cutoff frequency to fall to its minimum value. Keep in mind the amplitude envelope; long values here may not be audible if the amplitude envelope is short.
@@ Line 98: / Line 106: @@
 ===== high-pass filter =====
-The high-pass filter has two parameters:
+A high-pass filter cuts low frequencies. The high-pass filter has two parameters:
   - cutoff frequency: sounds above this frequency are preserved; sounds below it are reduced
   - cutoff sweep: creates an envelope on the cutoff frequency, reducing it over time. The time specified is how long it takes the cutoff frequency to fall to its minimum value. Keep in mind the amplitude envelope; long values here may not be audible if the amplitude envelope is short.