Hi Scott,
that does indeed help a lot. That what i get when staring at the code for too long! Thanks!
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Hi Menno,
glad that helped. I can’t explain why, but I have noticed that if you want an expon env with tied notes, as opposed to say linseg, then transeg will work accurately where the others (expon/expeg) don’t seem to.
So for example:
kfrq transeg p6, idur, 2, p7
i2 7.692307692307693 -1.5384615385 1.0 .80 14000 500
i2 9.615384615384615 -1.5384615385 0.7 .83 500 .
i2 11.538461538461538 -1.5384615385 2.7 .76
i2 13.46153846153846 1.5384615385 1.5 .70
will create an expon freq env which drops from 14000 to 500 on the first note & remain at 500 Hz for the duration of the tied notes.
I was recently working on this for my own monosynth instr, referencing the Csound Journal article:
https://csoundjournal.com/2005fall/tiedNotes.html#:~:text=To%20use%20the%20tied%20notes,the%20the%20same%20instrument%20number.r.
I found the process a little (very…) convoluted; I also wanted a more gated sequencer type instr that could also create legato lines & a smoothly modulating filter freq so I opted for a trigger instr passing some local and global variables finding it a far simpler approach (notes in table or array vs score) although there are pros & cons to it. Here’s an example:
https://www.dropbox.com/s/pq1yp6ymzjmkixi/gated_arp_sequencer.mp3?dl=0
But if you’re using Blue then it’s probably a moot point.
Cheers,
Scott