SOUNDSHAPER: CDP HINTS FILE (ENGLISH)

[0],n/a, 
[1],spec gain,Amplify or attenuate the spectrum: applies gain to a spectral file (.ana).
[2],spec gate,Eliminate channel data below a threshold amplitude
Cuts out low level signal in each frequency channel over time.
This is a simple way to clean up a signal by eliminating low-level frequencies and turn apparently silent portions into true silences. As individual channels may not have a high level within the source, the threshold should be set very low, e.g. 0.1 or less.
[3],spec bare,Zero non-harmonic data (orig.version)
Retains harmonic partials only, using previously extracted pitch data file (Infile 2) as reference
[4],spec clean,Remove noise: needs comparison file(s) cut from Infile: Infile2 Noise; Mode 4 only - Infile3: Good-signal)
Deletes channel data when it falls below a threshold in comparative Noisefile.
[5],spec cut,Extract a portion of an analysis file
Crops an analysis file at the times specified.
[6],spec grab,Extract a single analysis window
Grabs a single analysis window at time point specified.
In Soundshaper, this function is pre-built into the process GLIDE.
[7],spec magnify,Time-expand single spectrum.
Expands a single analysis window over time, producing a static sound that can then be shaped by e.g. VOCODE or CROSS
[8],stretch spectrum,Stretch/compress frequencies across the spectrum
Shifts frequencies, stretching or compressing the intervals between them.
[9],stretch time,Variable timestretch (preserving pitch)
Stretches or shrinks the timebase without changing pitch.
[10],pitch altharms,Delete even or odd harmonics (orig. version)
Deletes odd or even harmonics, using pitch data file (Infile 2) as reference
[11],pitch octmove, 'Octave' transposition without formant shift (orig. version)
Octave-shift the spectrum, using previously extracted pitch file (.frq).
In this version, the pitch file could come from another sound.
[12],pitch transp,Transpose (part of) spectrum
Tranposes partials above or below a frequency split point.
[13],pitch tune,Tune spectrum to specified pitches
Shifts partials to nearest pitch (or its harmonic) in given list. Mode 3 adds time-variable tuning.
[14],pitch pick,Retain only selected frequencies which may be in sound
Filters out frequencies which are not harmonics (etc.) of given fundamental frequency.
[15],pitch chord, Spectral harmoniser, preserving time and optionally spectral envelope
Alters the spectral frequency content, rather than transposing pitch. 
For ordinary harmonising, use STACK or TRANSPOSE.
[16],specross partials,Interpolate between harmonics of 2 pitched sounds
Morph the harmonics of pitched sound 2 (e.g. stable) towards those of pitched sound 1 (e.g. speech). 
[17],hilite filter,Filter the spectrum (with time-varying frequency and Q)
General spectral filter with High/Low/Band pass options
[18],hilite greq,Filter out / Retain specified freq. bands (no amplitude control)
Spectral graphic equalizer retaining or rejecting specified frequency bands. 
Uses control file to specify bandwidths and centre frequencies.
[19],hilite band,Split spectrum into one or more bands and process these individually
THIS PROCESS IS NOT CURRENTLY SUPPORTED 
[20],hilite arpeg,Arpeggiate the spectrum
Highlights individual partials during a frequency sweep.
[21],hilite pluck,Emphasise spectral changes
[22],hilite trace,Thin Spectrum by keeping loudest partials (with optional filtering)
Retains the loudest N channels only, over time. (Opposite of SUPPRESS)
[23],hilite bltr,Blur & Trace - Time-average spectrum and keep loudest partials
Blurs the spectral data over time and thins it as well
[24],superaccu,Sustain spectral bands with optional tuning.
Sustain frequencies over time, with possible glissando. Optionally tune frequecies to specified (MIDI) pitches.
[25],focus exag,Exaggerate (or broaden) the spectral contour
Narrows the spectral peaks (formants), focussing on them; alternately broadens them, making sound more fuzzy, as in SPREAD
[26],focus focus,Create filters centred on formants to focus spectral energy
Focuses on spectral peaks (formants), by treating peaks as centre frequencies of a filter set.
[27],focus fold,Octave-transpose frequencies into specified range
Transposes frequencies into a narrower range.
[28],focus freeze,Freeze spectrum at given times
Freezes the frequencies (amplitudes change) or amplitudes (frequencies change).
[29],focus step,Freeze spectrum at regular intervals
Spectral freezing at fixed time-steps.
[30],blur avrg,Average spectral energy over adjacent frequency channels
Roughens the sound by averaging the spectral amplitude over adjacent frequency chans.
[31],blur blur,Blur the spectral data over time and optionally thin it
Averages the spectral amplitude over a given number of time-windows. Mode 2 adds TRACE option to retain only the loudest N channels.
[32],blur suppress,Thin Spectrum by rejecting loudest partials.
Rejects the loudest N channels, retaining what's left.  (Opposite of TRACE)
Paired with SUPRESSBND (CDP8) in which the frequency band to be suppressed can be defined.
[33],blur chorus,Randomise amplitudes and/or frequencies of partials
Produces chorus effect by random variation of amplitudes and/or frequencies
[34],blur drunk,Random walk through analysis time-windows
Spectral version of ZIGZAG: moves randomly back and forth in time
[35],blur shuffle,Permutate analysis windows
Randomly shuffles time-windows in spectral analysis file
[36],blur weave,Patterned sequence of single time-windows (repeated until end of file)
Moves through the spectral file in time, according to a patterned sequence
[37],blur noise,Add noise to spectrum
Saturates the spectrum with noise, by amplifying low-level frequency channels
[38],blur scatter,Thin spectrum randomly
Thins the spectrum by removing frequencies chosen randomly
[39],blur spread,Introduce controlled noise by spreading each spectral peak
Spreads spectral peaks, exaggerating less prominent spectral channels.
[40],strange shift,Inharmonic shift of (part of) spectrum by constant amount
Shifts a range of frequencies up or down, producing inharmonic sounds.
[41],strange glis,Endlessly rising/falling Shepard tone or inharmonic glissando
Creates a glissando while retaining the spectral contour, including articulation.
See also MORPH | GLIDE
[42],strange waver,Oscillate between harmonic and inharmonic state.
A spectral form of vibrato, with a tendency to jump in frequency.
[43],specnu slice 5,Invert spectrum around a given frequency.
All partials are inverted around a given frequency: high frequencies become low and vice versa.
[44],strange invert,Invert spectral envelope (harmonics only)
Inverts the spectral envelope from top to bottom: the energy associated with high frequencies is applied to low ones and vice-versa.
The frequencies themselves are not inverted.
[45],morph glide,Glissando between windows in two files
Interpolates between frequencies, grabbed from any two windows, over a given period of time
The two input files must be different, but can in fact be the same sound. 
[46],morph bridge,Morph between two spectra at specified times in each
(Compare with MORPH)
[47],morph morph,Morph between one spectrum and another
Typically used to morph between similar sounds.
For morphing between dissimilar sounds, see MORHPPEAKS
[48],repitch getpitch 1,Extract Pitch (.frq) from spectrum (NB: 2 OUTFILES)
Uses the current settings for pitch extraction, set in Set GetPch Defaults.
The second outfile (.ana) is simply to audition the extracted pitch; the file can be found in the TEMP folder for the output cell.   
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IN: .ana (.wav)  OUT: .frq, and .ana
[49],repitch getpitch 2,Extract pitch as a breakpoint file (.pch) from spectrum (NB: 2 OUTFILES)
Uses the current settings for pitch extraction, set in Set GetPch Defaults. 
Breakpoint pitch data can be edited, but must be converted to a pitch file (.frq) before combining with a formant file (.for) to recreate sound.  
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IN: .ana (.wav)  OUT: .pch (or .brk), and .ana
[50],oneform get,Extract formants at a specific time in a formant file
Extracts a static spectral envelope, not time-varying.
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IN: .ana (.wav) OUT: .for (single-formant)
[51],oneform put,Impose single-moment-formants on a spectral analysis file.
Imposes a static spectral envelope on Infile 1, or replaces it entirely.
NB: currently, Infile 1 cannot be auto-converted to .ana from a soundfile.
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IN 1: .ana , IN 2: .for (single-formant)  OUT: .ana (.wav)
[52],oneform combine,Pitch and single-moment-formants data combine to make a new spectral analysis file.
Makes a sound with a static spectrum and the pitch contour extracted (or altered) to create Infile 1.
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IN 1: .frq (.ana/.wav), IN 2: .for (single-formant)  OUT: .ana (.wav)
[53],selfsim,Replace spectral windows with more prominent similar ones
[54],focus accu,Sustain spectral bands until louder signal in band (orig. vn.)
Superseded by SUPERACCU but slightly different.
[],specgrids,Split spectrum into multiple files for separate processing/mixing (MULTI-OUTs: MONO)
[55],glisten, Partition sound into sets of spectral channels and play sets in order
[56],specsphinx,Create hybrids by imposing channel amps onto freqs or multiplying spectra
Mode 1 imposes amps of File 2 onto freqs of File 1; Mode 2 multiplies their spectra.
[57],spectwin,Combine formants and/or total spectral envelopes of two spectra
Combine formants of Infile 1 with spectral envelope of Infile 2, or vice versa;
or combines formants of both, or spectral envelope of both.
[58],newmorph,Morph between spectral peaks of dissimilar spectra.
Morphs from the first to the second sound, interpolating between peaks or gradually tuning sound 1 towards sound 2
[59],newmorph2,Morph spectral peaks towards given frequencies.
Frequencies are gradually tuned towards those of the most prominent spectral peaks.
First use PEAKFREQS (Morph menu) to generate a text list of the most prominent spectral frequencies; 
or use any arbitrary list of frequencies (e.g. 220, 440, 660, 880 for an A major chord).
[60]
[61]
[62],repitch transpose,Change pitch preserving time  (LEGACY VERSION)
[63],repitch transpose,Change pitch (preserving time) using binary Transposition File
Transposition file (.trn) is extracted from two pitch data files (.frq /.pch): see PitchData | Combine 
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IN 1: .ana (.wav), IN 2: .trn  OUT: .ana (.wav)
[64],formants get,Extract spectral envelope (analysis file --> formant file)
[65],formants put,Impose Spectral Envelope (formant file --> analysis file)
This function is the same as VOCODE: imposing characteristics of one sound on another.
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IN 1: .ana (.wav), IN 2: .for  OUT: .ana (.wav)
[66],formants vocode,Impose Spectral Envelope (Infile 2  --> Infile1)
Classic vocoder: imposes the changing spectral envelope of Infile 2 onto Infile 1
This process works best if Infile 2 is rhythmic and Infile 1 is continuous.
[67],formants see,View Formants as pseudo-soundfile (DO NOT PLAY!)
Input is a spectral envelope (formant) file (.for); an analysis (.ana) or soundfile (.wav) is auto-converted.  
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IN: .for (.ana/.wav)   OUT: .wav (VIEW ONLY)
[68],formants getsee,Get formants and view as pseudo-soundfile (AnalFile --> Sndfile)
NOT IN USE
[69],combine make,Generate spectrum by combining pitch + formant data
The workhorse for combining pitch data with a spectral envelope to create a freq. analysis file (.ana)
This is particularly important after manipulating pitch data (.frq or breakpoint .pch)
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IN 1: .frq (.ana/.wav), IN 2: .for (.ana/.wav)  OUT: .ana (.wav)
[70],combine sum,Add or subtract the amplitudes of two spectra 
In Subtract mode, Infile2 is subtracted from Infile1
[71],combine diff,Subtract amplitudes of two spectra (Inf2 from Inf1) LEGACY VERSION
Infile2 is subtracted from Infile1
[72],combine interleave,Interleave (groups of) time-windows from two or more spectra
Alternates chunks of sound from the two sources. Output length is approx. that of the shorter sound.
[73],combine max,Retain the maximum value in each analysis channel of two or more spectra (NO PARAMS.)
In each channel (frequency band) the file with the maximum value is used.
[74],combine mean,Take mean of two spectra, in amplitude and/or frequency
Inputs are combined according to their mean amplitude and/or frequency. 
[75],combine cross,Create hybrid by replacing spectral amplitudes of Infile 1 with those of Infile 2.
CROSS is a more extreme version of VOCODE: Infile 2's spectral amplitude completely replaces that of Infile 1.
This process works best if Infile 2 is rhythmic and Infile 1 is continuous.
[76],specinfo windowcnt,Number of windows in Analysis file (NO PARAMS.)
Reports the number of time-windows found in a spectral file (.ana)
[77],specinfo channel,Get PVOC channel number for given frequency
Reports a frequency's channel number, for the current PVOC settings. 
[78],specinfo frequency,Get frequency of given PVOC channel number
Reports a PVOC channel's centre frequency, for the current PVOC settings.
[79],specinfo level,View level of analysis file via pseudo-soundfile (NO PARAMS.)
Displays a spectral file's level as a pseudo-soundfile. DO NOT PLAY THIS!
[80],specinfo octvu,Get spectral amplitude (textfile out)
[81],specinfo peak,Give low/high freqs of time-varying peak energy band (textfile out)
[82],specinfo report,Report freq. peaks in time-varying spectrum (textfile out)
[83],specinfo print,Print spectral data to textfile (WARNING: Large O/P)
[84],peak extract,Extract spectral peaks from spectral analysis file (textfile out)
[85],newmorph2,Extract freqs of most prominent spectral peaks (textfile out)
[86],get_partials hmc,Extract relative amplitudes of harmonics in a pitched source (textfile out)
[87],newmorph 7,Morph between spectral peaks (MULTI-OUTs: MONO)
Sound 1 is morphed towards sound2 in OUTCNT steps, each step a new output file (MULTI-OUTs)
[88],spec bare,Zero non-harmonic data (composite version)
Retains harmonic partials only; extracts pitch data for reference
[89],pitch altharms, Delete even or odd harmonics (composite version)
Deletes odd or even harmonics; extracts pitch data for reference
[90],focus hold,Hold spectrum at given times and lengths
Time-expands a spectral file at specified times
[91],hilite vowels,Impose vowels on a sound
The sound is filtered to imitate imposed vowel sounds, which can vary in time. 
See Quick Help (F1) on parameter page for how to specify the vowels.
[92],specnu clean,Eliminate low-level bands compared with noise file
First extract a 'noise' signal (Input 2) to subtract from the signal.
Mode 2 additionally subtracts noise from remaining bands.
[93],specnu rand, Randomise order of spectral windows
Windows (time-slices) are shuffled in time
[94],specnu remove,Remove unwanted pitch and harmonics
Attempts to remove a pitch component and its harmonics; Mode 2 removes everything but the pitch.
[95],specnu slice,Extract slices of the spectrum into separate files (MULTI-OUTs: MONO)
Splits the spectrum into separate frequency slices for processing and possible recombining.
Set the number of outputs and the bandwidth to determine the spectral slices.
Bandwidth is applied cyclically (e.g. with 3 O/Ps and octave bandwidth, 1st file has 8ves 1,4,7,etc.)
[96],specnu slice 4,Extract soundfiles by tracking harmonics [REL 6: To come] (MULTI-OUTS)
Slice spectrum into multiple files centred on the sound's harmonics. A pitch data file is extracted automatically to determine the harmonic content. 
This process is NOT output to the patchgrid, as it can produce a large number of output files, many of which may be silent or near-silent, if the harmonic is low in level.
[97],specnu squeeze,Squeeze spectrum in freq. range around a specified centre freq.
Depending on the degree of squeeze, frequencies are pulled in towards a centre frequency.
This function is "faulty", in that the output pitch is invariably around F4 (350Hz), but different settings alter the timbre and the output can be tranposed.
[98],combine make2,Generate spectrum by combining pitch, formant and envelope data
Combines ombining pitch data and spectral envelope with an amplitude envelope (.evl), which is best extracted from a spectral file (.ana) - see ENVELOPE | EXTRACT menu 
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IN 1: .frq (.ana/.wav), IN 2: .for (.ana/.wav), IN 3: .evl (from .ana)  OUT: .ana (.wav)
[99],analjoin join,Join spectral analysis files together (no params)
Concatenate several spectral files end to end.
[100],distort cyclecnt,Count pseudo-wavecycles (*MONO IN)
Report the number of wavecycles found. Input must be MONO.
For stereo/multi-chan, run SPLITCHANS or STEREO/M-C to MONO first.
[101],distort reform,Reshape pseudo-wavecycles / harmonic distortion
Individual pseudo-wavecycles are replaced with simple waveshapes: sine, square, etc.
Several modes distort the signal. Mode 8 exaggerates the cycles, introducing distortion, potentially over time.
[102],distort envel,Apply envelope to groups of wavesets (pseudo-wavecycles).
Imposes a envelope (possibly user-defined) over groups of pseudo-wavecycles. With large groups this gives an audible amplitude modulation. With small groups, the modulation creates its own resonance, giving a distorted sound.
[1021],distort pulsed,Impose impulses on (part of) sound
Like TREMOLO or SHUDDER, this produces pulsed variations in loudness.
[103],distort average,Average waveshape over groups of pseudo-wavecycles
Averages the waveshape over a number of wavesets (pseudo-cycles). In a melodic passage, this averages the melody too, creating an unpredictable sequence of pitches.
[104],distort omit,Replace some pseudo-wavecycles with silence
Introduces gaps in the sound
[1041],distort,Omit/delete/replace some pseudo-cycles in each group, giving possible time-shrink
Some related functions: Omit replaces some pseudo-wavecycles with silence; Delete removes some cycles in a group, time-shrinking and making a grainy sound; Replace repeats the loudest cycle in each group, usually creating a curious melodic sequence. 
[105],distort multiply,Raise the pseudo-wavecycle frequency
Raises frequency by shortening/copying and inverting half-cycles. The effect is usually to change the timbre rather than the pitch.
[1051],distort,Alter the pseudo-wavecycle frequency (multiply/divide/add harmonics/fractals)
Multiply and Divide raise or lower the frequency by shortening/copying and inverting half-cycles. The effect is usually to change the timbre rather than the pitch, however. Add Harmonics and Fractals add multiples of the frequency and miniature copies of it, respectively, roughening the sound. 
[1052],distmore double,Multiply the frequency of each waveset
Similar to CYCMULTIPLY, this raises the frequency of pseudo-wavecycles, changing the timbre.
[106],distort divide,Lower the pseudo-wavecycle frequency
Changes the timbre of the sound by lowering the frequency of wavesets, but doesn't lower the pitch.
[107],distort harmonic,Superimpose harmonics of pseudo-wavecycles
Adds multiples of the frequency, roughening the sound. 
[108],distort fractal,Add "fractals" of pseudo-wavcycles
Adds miniature copies of the wavesets, roughening the sound.
[109],distort reverse,Reverse groups of pseudo-wavecycles
In theory, groups of cycles are reversed, though the forwards sound is remarkably persistent, unless the group-size is large.
[1091],distmore segsbkwd,Reverse certain (sets of) segments (CDP8)
Reverses segments listed as pairs of times called Heads and Tails. At least two pairs of time-values must be given.  
[110],distort shuffle,Permutate groups of pseudo-wavecycles
Uses a pattern of DOMAIN (e.g. abcd) and IMAGE (e.g. dacb) to shuffle groups of cycles.
[1101],distmore segszig,Zigzag across tail segments or whole file (CDP8)
Plays segments forwards then reversed; Mode 1 is very fussy about times. Segments are listed as pairs of times called Heads and Tails. At least two pairs of time-values must be given. Optionally shrink the zig-zags or use only a portion of the segment.  
[1102],scramble scramble,Scramble waveset order ramdomly and by size or level. (CDP8)
Scrambles the order of wavesets: randomly and by size and level, with optional transposition and attenuation.  Some modes use a times datafile to define the segments.  
[111],distort repeat,Repeat pseudo-wavecycles to timestretch sound.
Time-stretches by repeating (groups of) cycles.
[1111],distort repeat2,Repeat pseudo-wavecycles without timestretching
[1112],distort replim,Repeat groups of 'cycles' below a given frequency limit
[1113],distort repeat,Repeat pseudo-wavecycles with optional timestretch
Time-stretches by repeating (groups of) cycles. Modes 1 and 3 timestretch the sound by repeating segments, while Mode 2 simply repeats segments without stretching. Mode 4 repeats each waveset (pseudo-cycle) a given number of times and interpolates between them.
With small groups, the rate of repetition creates a buzzy resonance, lasting as long as the number of repeats. CycRepeat can produce long, grainy sounds and works well with large group-sizes, e.g. 100-200.
[1114],distrep,Repeat pseudo-wavecycles with optional timestretch
Time-stretches by repeating (groups of) cycles.
[1115],splinter,Create splinters by repeating and shrinking waveset group (CDP8)
Cuts a short segment (waveset group) from the soundfile and repeats it as pulses, shrinking and optionally transposing it on each repetition.  
[1116],distortt,Repeat pseudo-wavecycles within given duration (CDP8)
[112],distort interpolate,Repeat pseudo-wavecycles and interpolates between them. 
[1121],distmark,Interpolate between waveset-groups at marked points (CDP8)
Interpolates between wavesets at marked times, while repeating a segment of UNIT LENGTH, which must be less than half the minimum step in the times files. Frequently returns INVALID DATA error. 
[113],distort delete,Time-shrink sound by deleting pseudo-wavcycles
Time-shrinks by deleting some cycles in a group.
[114],distort replace,Strongest wavecycle in group replaces others
The strongest waveset (pseudo-cycle) in each group replaces all the others. This can create "random" melodies, even with large groups.
[115],distort telescope,Retain 1 pseudo-wavecycle per group
Time-shrinks by keeping only one cycle in each group.
[1151],distshift,Time-shift or swap wavecycles (CDP8)
Wavesets are moved to a different position or swapped with others.
[116],distort filter,Time-shrink by filtering out cycles
Cycles falling outside the frequency range are removed, time-shrinking the sound and omitting some of the material
[1161],distmore bright,Reorder sound segments in order of average zero-crossing rate (CDP8)
Re-orders waveset groups based on the average zero-crossing rate. Segments are selected from a list of paired times (minimum two pairs). 
[117],distort interact,Interleave 'wavecycles' (NO PARAMS.)
Wavesets are merged with those from Infile 2
[1171],distort interact,Impose 'wavecycles' (NO PARAMS.)
Wavesets taken from Infile 2 are imposed on Infile 1.
[118],distort pitch,Pitchwarp 'wavecycles'
The pitch of wavecycle groups varies randomly within a user-set limit, in octaves.
Keeping to very small values introduces tiny variations in pitch and time which may be useful for chorusing when mixed with the original.
[1181],distort overload,Clip top of signal (and replace with waveform)
The top of the waveform is clipped and optionally replaced with another frequency. This adds "bite" to the sound, but the scale of distortion depends on the settings used.
[1182],distcut,Cut sound into waveset-groups with falling envelope (MULTI-OUTS) (CDP8)
Segments the sound according to wavecycle groups identified by a falling envelope. Closely related to ENVCUTS. 
[1183],distwarp,Warp by multiplier (CDP8)
Warps soundfile by applying a multiplier, either to each sample or to groups of wavesets. 
It appears to emphasise amplitude (to be confirmed). In samplewise mode, it can produce a distinct pitch, which can be varied over time. 
[119],extend zigzag,Read soundfile backwards and forwards
Read within soundfile changing direction and extent either randomly within limits or using a list of times.
The multi-channel option pans to a new channel at each 'zig' or 'zag'.
[1191],extend baktobak,Join reversed copy of soundfile to itself
A reversed copy of the soundfile is spliced onto and before the original.
[1192],constrict,Shorten duration of zero-level sections
The process constricts silences, shortening zero-level sections in a sound and therefore shrinking it.
GATE or SPECGAIN can be used to reduce low level to silence before applying the process.
[1193],mchzig,Zig-zag reading of sound spread across multi-chan outputs (M-C Out)
Multichannel version of zig-zag: read soundfile back and forth, panning to new channel at each 'zig' or 'zag'
[1194],hover,Zig-zag reading of sound from given time at specified frequency.
HOVER zig-zags at a given time and frequency. The frequency affects sample width: at 44.1KHz sample rate, it reads +/- 22050 samples at 1Hz, +/- 2205 samples at 100Hz. Mode 2 outputs same data inverted, forming symmetrical zero-centred waveforms.
[120],extend loop,Loop portion and optionally step through soundfile
Repeat (loop) a section of the sound. Stepping moves the loop start-point and time-stretches the sound. The loop advances by step to the end of the file (Mode 1), or for a certain file-length (Mode 2), or for a number of repeats (Mode 3).
[1201],extend sequence,Single-source sample sequencer - list of time, transposition, level
Repeats the as a sequence with specified time, transposition and level. There is no duration field, so the whole sample is played each time.
[1202],extend sequence2,Multi-source sample sequencer - list of sound no., time, MIDI-pitch (orig.=60), level, duration
Repeats a number of sounds as a sequence with specified time, pitch and level. Soundshaper has a MIDI-file to seq. conversion function in the TOOLS menu. Note that pitch is determined by speed and that the durations cannot be extended longer than the original file-length (except by speed/lower pitch).
[1203],extend repetitions,Repeat sound at given times.
Repeats a sound at given times. The whole sound is repeated and repetitions are overlaid. The key parameter is being able to specify the repeat start-times. Otherwise, this is similar to ECHO and BOUNCE, though without a reducing level. 
[121],extend scramble,Segment sound and rearrange segments randomly
One of several programs which chop up a soundfile randomly (see also SHRED, RANDCHUNKS, RANDCUTS). Segments are selected from a wide variety of locations in the infile, jumping back and forth a great deal, and are then spliced together to make a file of the specified length. 
[122],extend iterate,Echo-repeats with optional pitchshift
The whole file is repeated after a given delay time - repetitions overlap. Output is either for a given time or number of repeats Optionally randomize the delay time and vary pitch and amplitude on each repeat. 
[1221],extend freeze,Freeze portion of sound by iteration
Repeats a segment (or the whole sound) to produce a freezing or chorus effect. Like ITERATE, output is for a given duration or number of repeats. If the delay time is shorter than the segment, the delays overlap. For chorusing, use a small number of repeats and very small delay time, randomised, with a small pitch shift.
[1222],extend doublets,Repeat segments of soundfile
Divides the sound into segments and repeats each a given number of times, in turn (e.g. AAA-BBB-CCC). The segments can be of equal length or can be time-varying.
[1223],mchiter,Echo-repeats spread across multi-channel output (M-C Out)
As ITERATE but with multi-channel output.
Iterations sent randomly to output chans; all channels used before a new random permutation.
[1224],iterline,Iterate a sound following a transposition line.
Repeats are transposed according to the current transposition ratio in a time-varying datafile.
[123],extend drunk,Splice together randomly-chosen segments
Takes a 'random walk' through the soundfile reading segments and splicing them together.
Segments are read forwards, beginning from within a range around a given STARTTIME, which can remain static or be time-varying, e.g. moving through the infile. Once a segment is read, the program moves randomly to a new STARTTIME in either direction: within the range and not more than STEP seconds from the previous STARTTIME. Segments are read at CLOCK intervals, a slower clock producing longer segments and vice-versa. Mode 2 offers 'sober' hold-times. 
[124],texture simple,Texture of 'note' events from one or more sounds (LEGACY VN: STEREO OUT)
'Notes' - soundfile(s) - are repeated at regular intervals, with transposed pitch.
Events are randomised within user-set min-max limits, with pitch optionally constrained to a specified set. 
More than one source may be used, with the output chosen randomly from the sources.
[1241],texmchan,Texture of 'note' events spread across multi-channel outputs (M-C Out)
As TEXTURE SIMPLE, but with multi-channel output.
'Notes' - soundfile(s) - are repeated at regular intervals, with transposed pitch.
Events are randomised within user-set min-max limits, with pitch optionally constrained to a specified set.
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IN: .wav   OPTIONAL IN 2,3...: .wav OUT: .wav (Multichan)
[1242],newtex,Create texture of grains (M-C out)
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IN: .wav   OPTIONAL IN 2,3...: .wav OUT: .wav (Multichan)
[1243],texture simple,Texture of 'note' events from one or more sounds (STEREO OUT)
'Notes' - soundfile(s) - are repeated at regular intervals, with transposed pitch.
Events are randomised within user-set min-max limits, with pitch optionally constrained to a specified set. 
More than one source may be used, with the output chosen randomly from the sources.
[125],texture grouped,Texture of 'note' event groups with random pitch-shapes (STEREO out)
Groups of 'note' events are repeated at regular intervals.
Pitches within the groups are chosen randomly within limits or selected from a specified pitch set.
More than one source may be used, with the output chosen randomly from the sources.
[126],texture decorated,Texture of 'note' events with decorations (random note-order). (STEREO out)
'Note' events form a decorating group around a central pitched and timed 'note' list. Pitches within the group are optionally constrained to a specified set. 
More than one source may be used, with the output chosen randomly from the sources.
[127],texture predecor,Texture with decorations(random note-order) (STEREO out)
[128],texture postdecor,Texture with decorations(random note-order) (STEREO out)
[129],texture ornate,Create ornamented texture of 'note' events with user-defined pitch shapes. (STEREO out)
'Note' events form a group ornamenting a central pitched and timed 'note' list. The group is a fully defined motif of duration and pitch. Pitches within the group are optionally constrained to a specified set. 
More than one source may be used, with the output chosen randomly from the sources.
[130],texture preornate,Create ornamented texture (user-specified pitch shapes) (STEREO out)
[131],texture postornate,Create ornamented texture (user-specified pitch shapes) (STEREO out)
[132],texture motifs,Texture of defined 'note-event' motifs, with optional pitch constraints  (STEREO out)
Each group is a motif of defined pitch, loudness and duration (as in ORNATE). The group's first pitch can be constrained to a pitch-set (process MOTIFS), or all 'notes' can be constrained (process HMC MOTIFS).
More than one source may be used, with the output chosen randomly from the sources. 
[133],texture motifsin,Texture of user-specified motifs on harmonic field (STEREO out)
[134],texture timed,Texture of timed 'note' events from one or more sounds (STEREO out)
TIMED repeats a motif of 'notes', defined by rhythm alone. Pitches are selected at random within a defined range or are constrained to a specified pitch set.
More than one source may be used, with the output chosen randomly from the sources. 
[135],texture tgrouped,Timed texture of 'note' event groups with random pitch-shapes (STEREO out)
TGROUPS may be compared with Texture GROUPS: here the onset of each group is timed by a defined rhythmic motif.
The group's starting pitch is chosen randomly within a given range, or is constrained to a specified pitch set. 
More than one source may be used, with the output chosen randomly from the sources.
[136],texture tmotifs,Timed texture of motifs, optionally forced onto harmonic field (STEREO out)
Fully defined motifs begin to play at the times specified. In TMOTIFS, the starting pitch can be constrained to  a pitch set; in the variant THmcMotifs, all the motif's pitches are forced onto a given pitch set as necessary. 
More than one source may be used, with the output chosen randomly from the sources.
[137],texture tmotifsin,Timed texture of motifs forced onto hmc field (STEREO out)
[138],grain count,Count grains found for given gate value
[1381],grain assess,Assess best gate value for Grain functions
Many granular processes require a gate threshold value to determine whether there is effectively a gap in the sound where the signal level falls below the threshold. GrnAssess suggests a gate level and counts the grains found at that level.
[139],grain omit,Omit (groups of) grains in a grainy sound
Time-shrinks the sound by deleting grains.
[140],grain duplicate,Repeat (groups of) grains in a grainy sound
Expands the sound by repeating grains.
[1401],grain r_extend,Timestretch iterated sounds like spoken "rrr" (LEGACY)
Legacy only: support withdrawn as appears to be superseded by Grainex
[1402],grainex,Extend grainy area within a sound, such as a spoken 'rrr'
Time-stretches the sound by repeating a grainy portion.
[141],grain reorder,Change order of grains in a grainy sound, using a given pattern
[142],grain repitch,Change pitch of grains in a grainy sound.
Using a textfile of transpositions, grains either cycle round the list or repeat each grain at each transposition (e.g. 5 transpositions = 5 repeats).
[143],grain rerhythm,Change rhythm of grains: lengthen or shorten grain onset times.
Using a textfile of onset durations (1=orig. length), grains either cycle round the list or repeat each grain at each onset duration (e.g. a list of 5 durations = 5 repeats). The latter produces a rhythmicised repetition of each grain.  
[144],grain remotif,Change pitch and rhythm of grains in a grainy sound
Using a texfile of transpositions and onset durations, grains either cycle round the list or repeat each grain at each onset duration (e.g. a list of 5 events = 5 repeats). The latter produces a pitched and rhythmicised repetition of each grain.  
[145],grain timewarp,Time-stretch or time-shrink by altering inter-grain times
[146],grain find,Find grains in a grainy sound (Output: textfile)
[147],grain reposition,Reposition grain onsets in a grainy sound
A textfile of times is used to re-position the grains. Use GRAIN FIND as a source of the original times and alter these. 
[148],grain align,Synchronise grain onsets between two soundfiles
Attempts to synchronise grains: set the threshold gate fairly low (possibly less than 0.3)
[149],grain reverse,Reverse order of (groups of) grains
This does not reverse the grains themselves, but simply their order.
[1491],grain grev,Manipulate grains found by envelope troughs and zero-crossings
A number of treatments - reverse, repeat, delete, omit, timestretch and retime - mirror those found in other GRAIN processes, but here the grains are selected by envelope and zero-crossings. 
[1492],grain grev,Get grain times found by envelope troughs and zero-crossings (*MONO in)
Like GRAIN FIND, but here the grains are selected by envelope and zero-crossings.
[1493],grain noise_extend,Timestretch noise component in sound
Attempts to extend the noisy portion of a sound.
[150],envel create,Create binary envelope file (.evl) - MONO OUT
START FROM EMPTY ROW (col. 0)  
Full instructions: click F1 on Param.Page.
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IN: none   OUT: .evl
[1501],envel create,Create breakpoint envelope file (.env) - MONO OUT
START FROM EMPTY ROW (col. 0). 
Full instructions: click F1 on Param.Page.
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IN: none   OUT: .env (.brk)
[1502],n/a,Edit breakpoint envelope file (.env)
Modify existing breakpoint envelope file in Graph Edit. No soundfile diaplay available.
Returns modified .env file to the same cell.
Process can also be operated from: Graph | Breakpoint file.
Full instructions: click F1 on Param.Page.
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IN: .env   OUT: .env
[1503],n/a,Extract and modify breakpoint envelope (.env) in Graph Edit.
Extract breakpoint envelope from sound and edit in GraphEdit with soundfile display.
Returns modified .env file to the next cell.
Full instructions: click F1 on Param.Page.
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IN: .wav   OUT: .env
[151],envel extract 1/2,Set defaults for ENVEXTRACT (.wav to .evl) and ENVEXTRACTB (.wav to .env/.brk)
Default values are used for auto-conversion in the background and can be changed at any time.
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IN: none  OUT: none
[1511],envel extract 1,Extract binary envelope file (.evl)
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IN: .wav   OUT: .evl (envelope file)
[1512],envel extract 2,Extract breakpoint envelope file (.env)
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IN: .wav   OUT: .env / .brk (breakpoint envelope file)
[1513],envel envtobrk,Convert binary envelope (.evl) to breakpoint envelope (.env)
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IN: .evl   OUT: .env / .brk (breakpoint envelope file)
[1514],envel brktoenv,Convert breakpoint envelope (.brk) to binary envelope (.evl)
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IN: .env / .brk (breakpoint envelope file) OUT: .evl   
[1515],envel envtodb,Convert binary envelope file (.evl) to dB format (.brk) 
NOT CURRENTLY SUPPORTED
[1516],envel dbtoenv,Convert envelope in dB format (.brk) to binary envelope (.evl)
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IN: .brk (breakpoint envelope dB format) OUT: .evl  
[1517],envel gaintodb,Convert envelope file  
[1518],envel dbtogain,Convert envelope in dB format (.brk) to breakpt. envelope (.env)
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IN: .brk (breakpoint envelope dB format) OUT: .env
[1519],repitch analenv,Extract loudness of each window of spectral file (.ana --> .evl)
Output data is synchronous with pitch or formant data from same spectral analysis file.
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IN: .ana   OUT: .evl (envelope file)
[152],envel impose 1,Impose envelope from one soundfile on another (Infile 2 on Infile 1)
[1521],envel scaled, Impose a time-scaled breakpoint envelope on a soundfile
Infile 2 is a breakpoint envelope (.env or .brk) imposed on Infile 1
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IN 1: .wav, IN 2: .env (.brk) OUT: .wav
[1522],envel impose 2,Impose an envelope (from envelope file) on a soundfile
Infile 2 is an envelope file (.evl) imposed on Infile 1
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IN 1: .wav, IN 2: .evl (envelope file) OUT: .wav
[1523],envel impose 3,Impose a breakpoint envelope on a soundfile
Infile 2 is a breakpoint envelope (.env or .brk) imposed on Infile 1
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IN 1: .wav, IN 2: .env (.brk) OUT: .wav
[153],envel replace 1,Replace soundfile envelope with that of another soundfile
Infile 2's envelope replaces that of Infile 1.
[1532],envel replace 2,Replace soundfile envelope (from envelope file)
Infile 2 is an envelope file (.evl) which replaces the envelope of Infile 1
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IN 1: .wav, IN 2: .evl (envelope file) OUT: .wav
[1533],envel replace 3,Replace soundfile envelope (from breakpoint .env file)
Infile 2 is a breakpoint envelope (.env or .brk)  which replaces the envelope of Infile 1
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IN 1: .wav, IN 2: .env (.brk) OUT: .wav 
[1534],envel replace 4,Replace soundfile envelope (from dB-breakpt. file)
Infile 2 is a breakpoint envelope (.brk) in dB,  which replaces the envelope of Infile 1
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IN 1: .wav, IN 2: .env (.brk) in dB OUT: .wav
[1535],envel replace 3,Edit soundfile breakpoint envelope (.env) and replace source with it
TO COME (POSSIBLY)
[154],envel warp,Reshape soundfile envelope (Group 1) - normalise, reverse, exaggerate, attenuate, lift, timestretch, flatten
[1541],envel warp,Reshape soundfile envelope (Group 2) - gate, invert, limit, expand, ceiling, ducked, corrugate
[1542],envel warp 11,Set troughs in a soundfile envelope to zero
[1543],envel warp 13,Create soundfile envelope triggered by rate rises
[155],envel reshape,Reshape envelope file (.evl) Group 1 - normalise, reverse, exaggerate, attenuate, lift, timestretch, flatten
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IN: .evl   OUT: .evl
[1551],envel reshape,Reshape envelope file (.evl) Group 2 - gate, invert, limit, expand, ceiling, ducked, corrugate
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IN: .evl   OUT: .evl
[1552],envel reshape 11,Set troughs in a envelope file to zero
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IN: .evl   OUT: .evl
[1553],envel reshape 13,Create an envelope file triggered by rate rises
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IN: .evl   OUT: .evl
[156],envel replot,Reshape brkpoint envelope (.env) Group 1 - normalise, reverse, exaggerate, attenuate, lift, timestretch, flatten
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IN: .env /.brk   OUT: .env /.brk
[1561],envel replot,Reshape brkpoint envelope (.env)  Group 2 - gate, invert, limit, expand, ceiling, ducked, corrugate
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IN: .env /.brk   OUT: .env /.brk
[1562],envel replot 11,Set troughs in a breakpoint envelope file (.env/.brk) to zero
------------------------------------------------
IN: .env /.brk   OUT: .env /.brk
[1563],envel replot 13,Create an breakpoint envelope file (.env/.brk) triggered by rate rises
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IN: .env /.brk   OUT: .env /.brk
[157],envel dovetail,Apply fade-in and fade-out
[158],envel curtail,Fade to zero
[159],envel swell,Swell envelope around a given time [legacy]
[1591],envel swell/ spike,Envelope sound creating swell or spike around given (peak)time(s)
SWELL creates an envelope gain and decay across the whole sound, peaking at a given time. 
SPIKE (CDP8) is a more pronounced version of the same idea, either peaking at a single time or listed times and adding controls over the up and down slope.
[1592],flatten,Equalise level of sound elements (CDP8) 
[160],envel attack,Emphasize the attack of a sound
[161],envel pluck,Create pluck effect at start of sound
[162],tremolo,Vary amplitude by oscillation, with narrowing facility and optional multichannel output.
Narrowing the width of the tremoloed segments leads to silences between tremoloed oscillations.
(Supersedes CDP's older ENVEL TREMOLO function.) 
Multichannel variation (CDP: flutter) spreads tremolo across multi-channel outputs (MC out).
[1621],flutter,Amplitude variation (tremolo) spread across multi-channel outputs (MC out)
As TREMOLO, but with multi-channel output
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IN: .wav   OUT: .wav (Multichannel)
[1622],tremolo,Vary amplitude by oscillation, with added narrowing facility.
Narrowing the width of the tremoloed segments leads to silences between tremoloed oscillations.
Mode 3 (CDP: tremenv CDP8) narrows the tremolo after a peak.
Tremolo is paired with the multichannel variation (CDP: flutter) which spreads tremolo across multi-channel outputs (MC in/out).
[1623],tremenv,Tremolo a sound with width narrowed after peak (CDP8)
Variant of TREMOLO in which the effect is delayed until after the peak. 
[163],envel cyclic,Create sequence of repeated envelopes  (.evl [binary file] out)
START FROM EMPTY ROW (col. 0). 
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IN: none OUT: .evl (envelope file)
[164],envel timegrid,Split sound into fixed-length segments retaining their original position (MULTI-OUTs)
The different outputs can be procesed separately and then mixed together.
[165],envnu expdecay,Exponential decay (fade-out) to zero
[166],envnu peakchop 2,Isolate peak-based events and output envelope (breakpt. envelope out)
Outputs a breakpoint envelope around amplitude peaks. The envelope may be imposed on or replace the source's envelope, or applied to another sound to rhythmicise that (Max. length is that of the envelope.)
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IN: wav OUT: .env (breakpoint envelope file)
[168],submix mergemany,Quick mix of several soundfiles (with same no. of channels)
[169],submix merge,Mix 2 soundfiles with time offset or skewed gain (can have different chan. count)
Sounds can optionally have staggered start times and unequal balance. 
[1691],submix balance,Mix 2 soundfiles (with same no. of channels), with balance control 
Mixing source and processed sound with BALANCE adds a Wet/Dry control. 
[1692],submix merge,Quick mix of 2 soundfiles (NO PARAMS: can have different chan. count)
Sounds are mixed at equal levels with each scaled to half its original level.
[1693],n/a,Set pan, level and start-time prior to mixing (STEREO OUT)
An alternative to CDP mix files, this enables sounds to be given a start-time, level and pan, prior to being mixed with MIXMANY.
[170],submix crossfade,Quick crossfade between 2 soundfiles (with same  no. of chans)
[172],submix inbetween,Generate a transition set of sounds (MULTI-OUTs)
Generates a given number of sounds with shifting relative levels from Infile 1 being loudest to Infile 2 being loudest. 
Mode 2 has a user-defined balance specified as a sequence of proportions. Both sounds must have same number of channels.
The alternative process uses zero-crossings to determine the transition and the user simply gives the number of outfiles.
S/M-C source converted to mono before use, but restored after processing.  
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IN 1: .wav, IN 2: .wav  MULTI-OUTs: .wav
[173],submix inbetween2,Generate transition sounds using zero-crossings (MULTI-OUTs)
Similar to INBETWEEN, this generates a set of outfiles with a varying balance between the sources; it uses zero-crossings to determine the transition and the user simply gives the number of outfiles. 
S/M-C source converted to mono before use, but restored after processing.  
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IN 1: .wav, IN 2: .wav  MULTI-OUTs: .wav
[174],submix getlevel,Test maximum level in a mixfile
[175],submix attenuate,Alter the overall level of a mixfile
[176],submix shuffle,Shuffle mixfile data
[177],submix timewarp,Alter mixfile times
[1771],submix timewarp,Alter mixfile time gaps
[1772],transit simple,Move repeated sound across 8-channel space (M-C MIXFILE out)
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IN: .wav  OUT: .mmx (multichan. mixfile)
[1773],transit filtered,Move 2 repeated sounds across 8-channel space (M-C MIXFILE out)
Second sound is meant to be filtered version of 1st sound; M-C input is converted to mono
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IN 1: .wav, IN 2: .wav  OUT: .mmx (multichan. mixfile)
[1774],transit doppler,Move 2 or more repeated sounds across 8-channel space (M-C MIXFILE out)
Intended i/ps: 1: approaching; 2: 1st transposed (final); opt. 3rd, 4th, etc.: intermediate; M-C input is converted to mono
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .mmx (multichan. mixfile)
[1775],transit doplfilt,Move 4 or more repeated sounds across 8-channel space (M-C MIXFILE out)
M-C input is converted to mono; Intended i/ps: 2: 1st filtered, 3: 1st transposed, 4: 3rd filtered (+ opt. 5 etc: intermediates)
Order is: 1: approaching snd; 2: same filtered; 3: final sound; 4: same filtered (+ opt. 5 etc: intermediates)
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IN 1-4[,5...]: .wav  OUT: .mmx (multichan. mixfile)
[1776],transit sequence,Move 3 or more repeated sounds across 8-channel space (M-C MIXFILE out)
Position sequence of 3/5/7 etc. mono sounds on tangent path to & from 8-channel array;
M-C input is converted to mono
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IN 1-3[,4...]: .wav  OUT: .mmx (multichan. mixfile)
[1777],transit list, NOT IMPLEMENTED YET
Requires list of input sounds, which is not yet available in Soundshaper.
[178],submix spacewarp,Alter pan positions in a mixfile
[179],submix mix,Mix soundfiles using mixfile (M/S in, S out; *not M-C)
Mix mono or stereo soundfiles using a mixfile: output is stereo
[1791],newmix multichan, Mix using multi-channel mixfile (.mmx).  (M/S/M-C in, M-C out)
Mix soundfiles by creating and mixing a multi-channel mixfile: output is multi-channel.
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .wav (Multichannel)
[1792],n/a,Extract chans from multichan file and remix to stereo (M-C in, S Out)
Splits channels in a multi-channel file and uses Mix Page to remix these to stereo
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IN: .wav (Multichannel)  OUT: .wav (Stereo)
[180],submix syncattack,Synchronise soundfiles in a mix
[181],n/a,Create mix or mixfile. START FROM EMPTY ROW!
Add files on Mix Page to create mix or save to mixfile.
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IN: none  OUT: .wav or .mix
[182],n/a,Edit mixfile, starting from patchgrid
Kiad one or more sounds to Mix Page and create mix or save to mixfile.
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IN 1: .wav, OPTIONAL IN 2[,3...]: .wav  OUT: .wav or .mix
[183],n/a,
[184],submix test,Test mixfile
[1841],multimix create,Create a dummy multi-channel mixfile (M/S/M-C in, .MMX out) 
Create a multichannel mixfile with channel positions for mono, stereo or m-c inputs
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IN 1[,2,3...]: .wav  OUT: .mmx (multichan. mixfile)
[1842],panorama,Generate mixfile distributing multiple mono files in a panorama (MONOs in, M-C MIXFILE out)
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IN 1[,2,3...]: .wav  OUT: .mmx (multichan. mixfile)
[1843],tangent onefile,Repeat sound along a tangent to an 8-chan ring (M-C MIXFILE out)
M-C input is converted to mono
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IN: .wav  OUT: .mmx (multichan. mixfile)
[1844],tangent twofiles,Repeat two sync'd sounds along a tangent to 8-chan ring (M-C MIXFILE out)
M-C input is converted to mono
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IN 1: .wav, IN 2: .wav  OUT: .mmx (multichan. mixfile) 
[1845],tangent sequence,Play sequence of sounds along a tangent to 8-chan ring (M-C MIXFILE out)
M-C input is converted to mono
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .mmx (multichan. mixfile) 
[1846],tangent list, NOT IMPLEMENTED YET
[185],filter fixed,Boost or cut - above below or around given frequency
[186],filter lohi,Lowpass/highpass filter
A simple Low/High pass filter which is capable of very tight 'brickwall' filtering.
[187],filter variable,Low/High/Band-pass/Notch Filter with time-varying freq. & passband 
Four classic filter types, with time-variable cutoff frequency and response ('Q').   
Set the overall output GAIN to boost the bandpasssed signal if Q is high (narrow band).
[188],filter bank,Bank of filters with time-variable passband
Better known as a graphic equalizer, this version offers a bank of band-pass filters tuned to harmonics, alternate harmonics, subharmonics, harmonics + offset or equal intervals. A time-variable Q sets the narrowness of each band. A high Q value produces a strongly pitched resonance and double filtering emphasises this.
[189],filter bankfrqs,Generate frequency file for FILTER USERBANK
Generates a set of filter bank frequencies for use with user-defined filter bank. The output is a text file, saved by default to "bankfreqs.txt". Edit this file to add an amplitude to each frequency.
[1891],n/a,Generate textfile for FILTER VARIBANK
[1892],filtrage,Generate randomised VARIBANK filterbank file
Generates filterbank data files for VARIBANK, with random frequencies. Output is either fixed filter data, or time-varying. VARIBANK is a very powerful way of tuning a sound to a given set of pitches or frequencies. 
[190],filter userbank,User-defined filterbank with time-variable passband
A user-defined fixed filter bank., using a textfile of freq./MIDI-pitch and amplitude.
[191],filter varibank,Time-varying filterbank
Tunes the sound to a given set of pitches or frequencies, using a textfile with lines each of time, freq, amplitude, freq. amp, etc. It can emphasise a different set of pitches as the sound progresses.
[1911],filter varibank2,Time-varying filterbank with partials
A variant of VARIBANK (q.v.). The text datafile specifies times and partials with amplitudes for each partial.  
[192],filter sweeping, Sweeping Filter: oscillating frequency
Emulates the classic filter sweep effect found on analogue synths, in which the filter is 'opened up' by its cutoff frequency moving progressively higher then lower again. 
[193],filter iterated,Repeated sounds with filtering
A mixture of USERBANK and ITERATE in which repeated sounds are filtered progressively.
[194],filter phasing,Phase-shift sound (allpass filter) or produce phasing effect
Re-creates the delay-line's classic "phasing" effect which mixes the source with a varying delay, phase-shifted, so that it progressively subtracts different frequencies from the output. The delay time can be time-varying.
[1941],chanphase,Invert phase of one channel (M/S/M-C in/out).
A utility for flipping the phase of a channel; when mixed with the original, the signal should drop out.
[1942],phasor,Introduce phasing into signal (STEREO or M-C OUT) (CDP8)
Creates a pronounced phasing effect using several audio streams.  
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IN: .wav   OUT: .wav (Stereo or Multi-channel)
[195],modify loudness 1-4,Adjust level of soundfile: Gain, Normalise and Force Level
[1951],modify loudness 7, Find loudest sound (NO PARAMS.)
[1952],modify loudness 2, Adjust level in dB
[1953],modify loudness 3, Normalise to max. or given level
[1954],modify loudness 4, Force level to given level 
[1955],modify loudness 5,Adjust max.level to that of Infile2 (NO PARAMS.)
[1956],modify loudness 6,Invert phase of sound (NO PARAMS.)
Invert signal: reverse positive and negative parts of signal in each channel.
Signal and Inverted signal cancel out when mixed.
[1957],phase 2,Widen stereo image by phase-shifting (opposite of Narrow).
Shift phase to enhance stereo separation ((M/M-C/)STEREO in, STEREO out).
Non-stereo input is converted to stereo before use (orig. is restored).
[1958],modify loudness 8,Equalise several soundfiles to level of loudest (NO PARAMS.)
[1959],frame shift 7,Adjust level in channel(s) of multi-channel file ((M/S/)M-C in/out)
Apply gain to single or group of channels; can time-vary to create envelope
Non m-c file is converted to quad before use (orig. is restored).
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IN: .wav (normally Multichannel)  OUT: .wav (Multichannel)
[196],modify space 1,Position/move sound within stereo field (M/(S/M-C) in, Stereo out)
Scaled Pan mode: uses time-varying breakpoint file (only); times are scaled automatically
For multi-channel work use MchPan.
[1961],modify space 3,Invert stereo positions in Pan Datafile (Pan .brk in/out; *not M-C)
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IN: .brk (Pan datafile)  OUT: .brk
[1962],modify spaceform,Create a Sinusoidal Datafile, e.g. for panning
Function is intended for a panning application but is useful for all sine LFOs.
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IN: none  OUT: .brk
[1963],modify space 4,Narrow stereo field or swap channels (M/M-C/STEREO in,STEREO out)
Narrows the stereo image down to mono; if negative, then channels are swapped.
Non-stereo input is converted to stereo before use (orig. is restored).
[1964],mchanpan 1/9,Pan or rotate sound around multichannel space (M-C out)
Pan or rotate between channel positions
[1965],mchanpan 4,Spread sound gradually across multichannel space, starting from centre (M-C out)
[1966],mchanpan 7,Timed pan between one configuration of channels and another, passing through centre (M/S/M-C in/out)
Datafile: lines of TIME and (all) chans in order, e.g. 1 2 3 4 panning to 3 4 1 2
Hint: use T-V ROLLOFF to reduce gain as channels pass through centre and are summed
Non m-c file is converted to quad before use (orig. is restored). 
[1967],mchanpan 6,Antiphonal switch between 2 chan. sets, with optional multi-inputs (M-C out)
ANTIPHON param is 2 sets of chan. letters, e.g. abcd-efgh; a-bcde; abc-bcdefg etc.
If more than 1 input, the next file is selected at each antiphonal switch (cycling round the list).
[1968],mchanpan 3,Spread silence-separated events between channel sets (M-C out)
Input must contain silences between "events" for this effect to work
[1969],mchanpan 2/5/10,Switch silence-separated events between channels (M-C out)
Input must contain silences between "events" for this effect to work
[197],modify speed 1/2,Change speed and pitch
Classic tape-speed function, changing pitch up or down in proportion to speed
[1971],modify speed 5,Accelerate-Decelerate
Raise or lower speed, and pitch by glissando, using START and STOP times
[1972],modify speed 6,LFO-controlled pitch modulation
Classic RATE (frequency) and WIDTH (depth of freq. change) controls; both time-variable.
[1973],modify stack,Superimpose transposed copies of sound
Copies are speed-transposed (could last longer than original), but overall duration can be set
[1974],strans multi 1/2,Change speed and pitch (M-C version)
Classic tape-speed function, changing pitch in proportion to speed
[1975],strans multi 3,Accelerate-Decelerate
Raise or lower speed, and pitch by glissando, using START and STOP times
[1976],strans multi 4,Vibrato: LFO-controlled pitch modulation
Classic RATE (frequency) and WIDTH (depth of freq. change) controls; both time-variable.
See also SINE DATA which creates a sine-wave breakpoint file for use with either control
[198],modify revecho 1/2,Delay with feedback and optional modulation of delay time
Mode 5: delay times given as MIDI pitch value, corresponding to resonance created by delay+feedback
[1981],modify revecho 2,Modulated delay time (legacy: DELAY now includes Varidelay)
[1982],modify revecho 3,Stadium PA-type echoes (STEREO out or M-C) 
Echo whole signal, with defined number of echoes and delay time (sound may overlap).
[1983],mchanrev,Stadium echoes spread across multi-channel outputs (natively M/S in, M-C out)
Echo whole signal, with defined number of echoes and delay time
As ECHO but with multi-channel output.
[1984],newdelay,Pitch-defined delay with feedback
Delay times are expressed as a MIDI pitch value corresponding to resonance created by delay+feedback
[1985],sfecho echo, Repeat the whole sound without overlaps
The whole sound is repeated over a given duration. The delay time is time-variable, but MUST be longer that the infile length. The process may suit short sounds better than long ones.
[199],modify brassage,Granular reconstruction of soundfile (STEREO out)
Standard granular process with one or more inputs 
"Whole-grain" option: most parameters have random values between user's min. and max.
"Multi-grain" option (CDP: Sausage): multi-file variant.
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GRAIN - IN: .wav   OUT: .wav (Stereo)
MULTI-GRAIN - IN 1 .wav IN 2[,3,...] .wav  OUT: .wav (Stereo)
[1991],modify brassage 5, Create grains in soundfile
Creates a "grainy" sound with gaps, if DENSITY is set to <1.
Most CDP Grain processes expect the source to be grainy in this way. 
[1992],wrappage,Granular reconstruction of sound spread across multichan. output (M-C out)
As GRAIN, but with multi-channel output. 
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IN: .wav OPTIONAL IN 2,3,... .wav   OUT: .wav (Multichannel)
[200],modify convolve,Convolve first sound with second (VERY SLOW!)
NOT SUPPORTED - USE FASTCONV INSTEAD
[201],modify radical 5,Ring Modulate sound by set frequency
All frequencies in the sound are modulated by a single (variable) frequency; output is generally "metallic". 
If input is consistent in pitch, then the output timbre is also static.
[2011],modify radical 1,Reverse soundfile - plays the sound backwards. 
Can be useful in conjunction with GRAIN REVERSE, WAVESET REVERSE and ECHO (Reverse - Echo - Reverse)
[2012],modify radical 2,Cut out and reassamble chunks randomly
Shreds the sound into a series of (repeated) segments chosen at random.
A multi-channel option scatters the segments across a given number of channels
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IN: .wav   OUT: .wav (optionally multichannel)
[2013],modify radical 3,Play sound forwards and backwards, like tape moved by hand over tape-head
Simulates the fluctuations of direction and pitch available with an analogue tape recorder.
[2014],modify radical 4,Create a lo-fi signal by lowering sample rate or bit-resolution
[2015],modify shudder,Impose envelope tremolo on stereo sound (M/M-C/STEREO in, STEREO out)
See also ENVELOPE | TREMOLO and PULSED
Non-stereo signal is converted to stereo before use; original is then restored.
[2016],modify radical 6,Cross-modulate one sound by another
Two input soundfiles are multiplied, creating complex sidebands
[2017],mchshred,Random time-slices spread across multi-chan outputs (M/S/M-C in, M-C out)
A multi-channel option of SHRED scattering the segments across a given number of channels
[202],pvoc anal,Spectral analysis of soundfile (to .ana)
Converts soundfile (.wav) to frequency analysis file (.ana) for spectral processes.
See also: toolbar icon (6th from the right).
This makes a "manual" conversion (outputs to next cell), though PvocAnal is applied automatically in Soundshaper as needed. PVOC is natively mono, but Soundshaper can handle stereo and multi-channel files.
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IN: .wav   OUT: .ana 
[203],pvoc synth,Resynthesis of analysis file (.ana) to soundfile
Converts frequency analysis file (.ana) to a soundfile (.wav).
See also: toolbar icon (5th from the right).
This makes a "manual" conversion (outputs to next cell), though PvocSynth is applied automatically in Soundshaper as needed. 
If a process chain ends with an .ana cell, it should be converted manually to a soundfile before saving it as a patch.
PVOC is natively mono, but Soundshaper can handle stereo and multi-channel files. 
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IN: .ana   OUT: .wav
[204],n/a,PVOC SETTINGS: set defaults for sound to/from freq. analysis conversion
Soundfile to Spectral file conversion (PvocAnal) and vice versa (PvocSynth) are applied automatically in Soundshaper as needed, using current values set in SPECTRAL | PVOC | SETTINGS (Ctrl+F5). 
The default of 1024 points (513 channels) is sufficient for most purposes. Increasing the number of points lowers the channel bandwidth.
[206],sfedit cut,Extract segment of soundfile
Cut out and keep a segment. The segment can be defined using Loop points or Markers
[2061],sfedit cut,Cut file at markers
SEGCUT extracts a segment for processing part of a soundfile; also selects the input as a "paste file" (for later pasting into) and remebers the paste point.
[2062],packet,Isolate or create sound packet(s).
A sound packet is a found or created grain, suitable for use in Texture programs.
[2063],sfedit cut,Cut file at markers (no paste)
Extract segment for further processing, without paste
If "Process at Markers" is selected, CUT uses the current pair of marker points if valid.
[207],sfedit cutend,Extract final portion of soundfile
In XTRA Menu: this function has been superseded by cutting at loop points
[208],sfedit zcut,Extract segment cut at nearest zero-crossings
The cut is made at the nearest zero-crossings to the START and END times. This may help in creating loopable segments.
[2081],sfedit zcuts,Cut listed segments at nearest zero crossings (MULTI-OUTs: MONO)
Uses a list of times to cut segments at the nearest zero-crossings.
Stereo or multi-chan. source is mixed to mono before use, but restored after processing
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IN: .wav   MULTI-OUTS: .wav (MONO)
[209],sfedit excise,Cut out segment of soundfile and close gap
Cuts out the segment between the START and END times.
If "Process Selection" is selected, EXCISE uses the current loop start/end points.
[2091],sfedit cutmany,Extract listed portions of sound into separate files (MULTI-OUTs)
Cuts segments at the times listed. 
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IN: .wav   MULTI-OUTS: .wav (MONO)
[2092],envcut,Cut sound into elements with falling envelope (MULTI-OUTs)
Makes multiple cuts using a falling envelope to determine where to cut the segments.
Process is generally effective at separating spoken syllables
[210],sfedit excises,Cut out listed portions of a sound and close gaps.
The excise equivalent of MULTICUT, this cuts out segments at the times listed.
[2101],sfedit noisecut,Replace noise in MONO soundfile with silence
In the XTRA menu, this function aims to convert noisy segments to silence.
It tends to produce an error that the sound has no noise.
[2102],sfedit syllables,Extract vocal syllables into separate files (MULTI-OUTs)
In the XTRA menu, this function attempts to extract syllables of speech.
However, a good visual editor can do this better.
[2103],cantor,Cut holes in a sound in the manner of a Cantor set (MULTI-OUTs)
Cut hole (silence) in central 1/3, then similarly cut into remaining segments, etc.
[211],sfedit insert,Insert a second sound, with optional overwrite
Paste a second sound (Infile 2) into the present one (Infile 1), optionally overwriting it.
Some care needed pasting at the start or end, in relation to the splice length.
[2111],sfedit insert,Paste processed segment into original file
Pastes a processed segment back into the original file, replacing the earlier content.
The PASTE button must be operated to complete the process.
[2112],sfedit replace,Insert 2nd sound, replacing part of first
An alternative to INSERT, this overwrites a segment in the first file
[2113],sfedit insert,Paste processed segment into selected file
Paste processed segment back into user-chosen file, overwriting.
A variant of Soundhspaer's SEGPASTE. In this version, the user selects the file to paste into.
[212],sfedit insil,Insert silence into soundfile
Paste silence into the soundfile at a specified time
[2121],prefix silence,Add silence to start of soundfile
Prefix silence to the start of a soundfile
[2122],manysil,Add silences at given times
Insert silent portions at listed times.
[2123],sfedit insil,Replace selected segment with silence.
CHOOSE "PROCESS SELECTION" FOR THIS 
[2124],silend, Add silence at end of sound.
Add given amount of silence or specify new output duration with added silence.
[213],sfedit join,Splice soundfiles together in order of selection
Concatenate two or more soundfiles. The first and second one must be present on the patchgrid, but subsequent files may be chosen via file selector
[2131],sfedit masks,Overwrite listed portions of sound with silence
Use listed times to rhythmicise a sound. Remove any comment lines at the start of the timesfile.
Applied to several sounds with suitable listed times, this process can be used to switch between them.
[2132],sfedit randcuts,Cut soundfile randomly into separate files of min to max. length (MULTI-OUTs)
This process is NOT output to the patchgrid, as it can produce a huge number of output files, unless the chunks are relatively large in relation to the file-length. The cuts are consecutive and the base name is rcuts (which you can edit), producing rcuts_1.wav, rcuts_2.wav, etc.
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IN: .wav   MULTI-OUTs: .wav placed in TEMP folder 
[2133],sfedit randchunks,Cut soundfile randomly into given no. of separate files (MULTI-OUTs)
Similar to RANDCUTS, but the user chooses the number of output files, and a min. and max. length.
Here the cuts are not necessarily consecutive, i.e. they can use the same material.
[214],sfedit joinseq,Join soundfiles in patterned sequence
[2141],sfedit joindyn,Join soundfiles in patterned sequence with dynamics
[2142],sfedit twixt,Switch between several files running in parallel
[215],housekeep chans 2,Extract all channels (S or M-C in; Mono also accepted) (MULTI-OUTs)
Mono signal is converted to stereo before use (orig is restored).
[2151],mton,Convert Mono to Multi-channel file (same signal in all chans) 
[2152],housekeep chans 1,Extract one channel from stereo or mutichannel file
[2153],submix interleave,Interleave mono channels to make stereo / multichan file
[2154],housekeep chans 3,Zero one channel (M/S/M-C in)
Mono signal converted to stereo before use (orig is restored).
[2155],housekeep chans 4,Convert Stereo to Mono
[2156],housekeep chans 5,Convert Mono to Stereo
[2157],modify space 2,Swap channels in a stereo soundfile ((M/M-C/)STEREO in, STEREO Out) 
Mirror: Invert stereo positions (L/R) in a stereo soundfile
Mono and m-c signals converted to stereo before use (orig is restored).
[2158],mchstereo,Mix stereo files in multi-channel space ((M/M-C)/STEREO in, M-C out)
Mix stereo files to make a multi-channel file
Mono and m-c signals converted to stereo before use (orig is restored).
[2159],frame shift 3-6/8,Alter channel assignments in multi-channel file ((M/S/)M-C in/out)
Re-order, swap or mirror channels, or change configuration between ring and bilateral.
Non m-c file is converted to quad before use (orig. is restored).
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IN: .wav (normally Multichannel)  OUT: .wav (Multichannel)
[216],housekeep extract 1,Extract segments above given gate level to separate soundfiles (MULTI-OUTs)
Extract a series of soundfiles according to threshold
[2161],housekeep extract 3,Remove low level signal from start and end (LEGACY)
[2162],housekeep extract 2,View envelope as pseudo-soundfile (DO NOT PLAY!)
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IN: .wav   OUT: .wav (VIEW ONLY)
[2163],dcfix,Replace d/c signal by silence (for CDP8 but not now incl.)
[2164],housekeep extract 4,Rectify signal to eliminate DC
[2165],onset,Report order of onsets in each channel
[2166],housekeep extract 6,Extract gated onset times
Finds the onset times when the signal rises above a gate level
[2167],topantail2,Remove low level signal from start and end
[2168],subtract,Subtract one channel (Infile2: Mono) from another (Infile 1: M/S/M-C)
[2169],toptail,Remove low-level signal from start and end of sound (proposed Rel8: NOT IN USE)
[217],housekeep respec,Change soundfile properties: sample rate, integer<-->float, alter header
[218],housekeep gate,Extract segments at zero amplitude points (MULTI-OUTs)
Segments the sound at zero-amplitude points; outputs placed in TEMP folder
[2181],partition,Partition into sound-streams at zero-crossings (MULTI-OUTs)
Segments sound, assigning each segment in turn to N output soundfiles, producing N streams of disjunct segments. 
E.g. 8 pieces cut and 2 outfiles: each outfile gets 4 pieces. All segments retain original times, so they can be treated differently and remixed.
S/M-C source converted to mono before use, but restored after processing
[2182],isolate,Partition into sound-streams at user-specified times (MULTI-OUTs)
The sound is segmented at given from-to times. Each segment retains its original starting time, so that they may be processed differently. (Mixing the segments will reconstruct the original times.)
[2183],fracture,Cut enveloped segments & disperse these in m-c space (M-C out)
Cuts the sound into pulse-enveloped segments of a given duration and disperses them in multi-channel space. The main effect is like a multi-channel tremolo. 
[2184],rejoin,Remix segment-files originating in "isolate" process.
POSSIBLE NOT IN USE: remixing the segments reproduces original sound
[219],housekeep deglitch,Attempt to deglitch a soundfile
[2191],housekeep endclicks,Remove clicks from start or end of soundfile
[2200],gate,Remove low-level signal from sound
Sound that falls below a given treshold level is removed, leaving gaps. This is a possible way to create selence-separated events for Grain, Retime and certain multichannel spatial processes.
[2210],frame shift 1-2,Rotate channels in multi-channel soundfile ((M/S/M-C in/out)
Change channel order over time, as a rotation or "snake" movement.
Non m-c file is converted to quad before use (orig. is restored).
Note that this rotates the order of channels, as opposed to rotating the sound (as in SPIN or AMBIPAN).
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IN: .wav (normally Multichannel)  OUT: .wav (Multichannel)
[2211],tangent onefile,Repeat sound along a tangent to an 8-chan ring (M-C out)
A specialised process in which a (short?) sound is repeated and moves across multichannel space at a tangent to an 8-channel ring of speakers.  
(M-C input is channelised, channels processed separately and outputs mixed.) 
[2212],tangent twofiles,Repeat two synchronised sounds along a tangent to 8-chan ring (M-C out)
Like TangentOne, but for two synchonsised sounds. (S/M-C input is converted to mono.)
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IN 1: .wav, IN 2: .wav  OUT: .wav (multichannel)
[2213],tangent sequence,Play sequence of (mono) sounds along a tangent to 8-chan ring (M-C out)
Like TangentOne, but for a sequence of sounds. (S/M-C input is converted to mono.)
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .wav (multichannel)
[2214],tangent list, NOT IMPLEMENTED YET
Requires list of input sounds, which is not yet available in Soundshaper.
[2215],panorama,Distribute multiple (natively mono) files in a panorama across multichan. space (M-C out)
Two or more soundfiles are placed in multichannel space, using a specified angle or given speaker positions, or randomly. 
Multi-channel input is channelised and treated as a list of mono inputs (2nd infile is dummy).
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .wav (multichannel)
[2216],tostereo,Diverge from mono to stereo - requires STEREO input (CDP8)
Takes a stereo input and diverges it spatially from mono to stereo. The output is either to a stereo file or to a stereo pair within multi-channel space.
  
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IN: .wav (Stereo)  OUT: .wav (Stereo)
[2217],pairex,Extract stereo pair from multi-channel sound (STEREO out) (CDP8)
Enter the channel numbers of the two channels to extract from a multi-channel file. 
Similar to CHANNELX, except that PAIREX produces a stereo output, whereas CHANNELX extracts two monos. 
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IN: .wav (Multichannel)  OUT: .wav (Stereo)
[2218],repair,Merge mono infiles into stereo or multi-channel outputs (MULTI-OUTs) (CDP8)
The single parameter OUTCHANS in fact determines the pairing of channels to outputs in a non-intuitive way.
Instead use INTERLX and select sounds from the patchgrid in the required channel-order. 
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IN 1: .wav, IN 2[,3...]: .wav  MULTI-OUTs: .wav (Stereo/multi-channel
[2220],transit simple, Move repeated sound across 8-channel space (M-C out)
M-C input is channelised, channels processed separately and outputs mixed. 
[2221],transit filtered,Move 2 repeated sounds across 8-channel space (M-C out)
Second sound is meant to be filtered version of 1st sound. 
S/M-C input is converted to mono
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IN 1: .wav, IN 2: .wav  OUT: .wav (multichannel)
[2222],transit doppler,Move 2 or more repeated sounds across 8-channel space (M-C out)
Intended i/ps: 1: approaching; 2: 1st transposed (final); opt. 3rd, 4th, etc.: intermediate; S/M-C input is converted to mono 
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .wav (multichannel)
[2223],transit doplfilt,Move 4 or more repeated sounds across 8-channel space (M-C out)
Intended i/ps: 2: 1st filtered, 3: 1st transposed, 4: 3rd filtered (+ opt. 5 etc: intermediates); M-C input is converted to mono
Order is: 1: approaching snd; 2: same filtered; 3: final sound; 4: same filtered (+ opt. 5 etc: intermediates); M-C input is converted to mono
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IN 1-4[,5...]: .wav  OUT: .wav (multichannel)
[2224],transit sequence,Move 3 or more repeated sounds across 8-channel space (M-C out)
Position sequence of 3/5/7 etc. sounds on tangent path to & from 8-channel array;M-C input is converted to mono
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IN 1: .wav, IN 2,3[,4,...]: .wav  OUT: .wav (multichannel)
[2225],transit list, NOT IMPLEMENTED YET
Requires list of input sounds, which is not yet available in Soundshaper.
[223],sndinfo props,Display information about sound and other system files
[224],sndinfo len,Report length of (sound)file
[225],sndinfo lens, List durations of several soundfiles (NO PARAMS.)
[2251],sndinfo maxi, List levels of several soundfiles (NO PARAMS.)
[2252],sndinfo maxsamp2,Find maximum level within time-range
[226],sndinfo sumlen, Sum durations of several soundfiles
[227],sndinfo timediff, Compare lengths of two soundfiles (NO PARAMS.)
[228],sndinfo timesmp,Convert TIME <---> SAMPLE COUNT
[2281],stretcha,Calculate stretch factor (sndfile)
[2282],stretcha,Calculate stretch factor (no sndfile)
NOT IN MENUS?
[2283],integratetime,Calculate stretched time using time-variable data
NOT IN CDP8 NOW - not supported
[229],dirsf,List sound and other system files
[230],sndinfo maxsamp,Find highest level in soundfile
[2301],sndinfo zcross,Display proportion of Zero-crossings
[2302],peakfind,peakfind,Find times of peaks in a soundfile
[2303],retime 12,Find start of sound: first non-zero sample; writes report to textfile
Report file is NOT overwritten, to enable a list of start times; use DELETE button to clear it.
[231],sndinfo loudchan,Find loudest channel in stereo soundfile (* STEREO in)
[232],sndinfo findhole,Find maximum segment below threshold level
[233],sndinfo diff,Compare 2 soundfiles (or other CDP types)
[234],sndinfo chandiff,Compare channels in a stereo soundfile  (* STEREO in)
[2341],modify findpan,Find pan position in stereo soundfile  (* STEREO in)
[235],sndinfo prntsnd,Print soundfile data to textfile (WARNING: Large O/P)
[236],sndinfo units,Pitch/interval unit conversions
[2361],sndinfo units,Speed unit conversions
[2362],sndinfo units,Gain Conversions
[237],synth wave,Synthesize waveforms (Sine /Square / Triangle / Ramp)
[2371],click,Generate a stream of pulses (may need to reset Memory Size)
NO LONGER SUPPORTED - see synth clicks instead
[2372],synth spectra,Generate stereo spectral band
[2373],synth clicks,Create a click track
[2374],clicknew,Make clicktrack from set of times (CDP8)
Synthesises short clicks at the times specified in the CLICKTIMES data file. There is no variation in the length or volume of the clicks produced. Although you have to specify every single time, Soundshaper's looping playback can repeat a cycle of times. 
[238],synth noise,Generate white noise
[2381],synfilt,Filtered noise with time-variable pitch(es) and Q (CDP8)
Generate time-varying single pitch or chord by filtering noise. High Q value produces more pitch and less noise.
[239],synth silence,Generate silence
[2391],synth chord,Synthesise a chord using sine tones
[2392],newsynth 1-2,Synthesize complex spectra with unlimited partials (list of time, partial-no, level) 
[2393],newsynth 3,Multichannel synthesis, with controlled random tranposition of partials (M-C out)
[2394],newsynth 5,Duffing oscillator (experimental)
[2395],newsynth 4, Fractally arrayed spikes
Synthesises a buzzy tone by an iterative fractal process
[2396],impulse,Create a stream of impulses (CDP8)
Synthesizes a pulse wave - MIDI PITCH is the main parameter, though GAPSIZE optionally lowers or raises the pitch (longer gaps = lower frequency), as does the number of output channels. Three parameters affect the timbre. 
[2397],multiosc,4-level nested oscillations (CDP8)
Freq and Amp 2-4 are nested oscillations of table-read. Wavetable is frequency and/or amplitude modulated - Mode1; Mode 2 modulates the modulations, and so on. 
[2398],synspline,Synthesis by randomly generated points (CDP8)
SynSpline smoothly connects randomly generated points to create constantly changing synthetic waveforms. The wavecycles can be set to morph over a number of cycles and pitch variation is also available. 
[2399],newscales
NOT IMPLEMENTED YET
[240],columns,Operations on pitch data
[2401],columns,Generate or re-order pitch data
[2402],columns,Manipulate times and levels
[241],columns,Math. operations (1)
[2411],columns,Math. operations (2)
[242],columns,Generate column of numbers
[243],columns,Random functions: add random val.,randomise order etc.
[244],columns,Sort column of numbers: sort, skip, rank etc. 
[245],columns,Manipulate columns: separate, merge, concatenate etc.
[246],columns,Column Info: find greatest, mean etc.
[2461],columns,MIDI to text etc.
[2470],vectors,** NOT YET IMPLEMENTED **
[2480],hfperm hfchords,Generate all chords possible from notes in given set
** NOT YET IMPLEMENTED **
[250],ptobrk,Extract Pitch breakpoint datafile (.pch) for PSOW processes (NO PARAMS)
In Soundshaper, this function is built into all pitch-synchronous processes (saved as .ptr), so is not needed as a standalone operation. However, it produces a very detailed pitch analysis in time-frequency pairs, which may be of use in other functions too. The data may be viewed and edited in GRAPH-EDIT. 
N.B. Pitch-synchronous operations are intended for pitched sounds with formants - normally vocal.
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IN: .wav  OUT: .pch
[251],psow stretch,Timestretch/shrink by repositioning pitch-synchonised grains
Time-stretching here tends to produce grainy gaps in the signal, unless Mode 2 (Strethc + Overlap) is used - this clearly repeats segments to stretch the sound. Note also PSDUPL, which does much the same thing.
[252],psow strtrans,Timestretch/shrink & 'transpose' by overlapping pitch-sync'd grains
In Soundshaper, this is Mode 2 of PSOW stretch.
[253],psow dupl,Timestretch by duplicating pitch-synchronized grains
Very similar to PSSTRETCH, this time-stretches by duplicating (groups of) pitch-synchronised grains. Anything larger than a very small group size (in single figures) produces a stuttering grainy sound with gaps.
Unlike PSSTRETCH, this function cannot time-shrink the sound (see PSDELETE).
[254],psow delete,Timeshrink by deleting pitch-synchronized grains
The opposite of PSDUPL, this deletes some grains to time-shrink the sound. Its method of shrinking also cuts off the end, or other portions, of the sound.
[255],psow features,Impose new features by modifying pitch-synchronised grains
A number of vocal treatments are brought together under one process. This is worth exploring in some depth to appreciate the interaction of controls producing subharmonics and possible octaviation, transposing the spectrum but not fundamental pitch, stretching the grains without time-stretching, plus transposition and vibrato. 
[256],psow sustain,Freeze & sustain a sound on specified pitch-synchronised grain 
Freezes the sound at a nominated time.
[257],psow sustain2,Freeze & sustain a sound specified by segment times
Loops the segment specifed by start and end times a sufficient number of times to fill out the sound to something approaching the desired outfile length. The FOF grains appear to be intelligently selected around the given times, cleanly repeating speech syllables, for instance. A melodic phrase can be similarly repeated successfuly.
[258],psow reinforce,Add harmonics or inharmonic partials using pitch-synchronised grains (*not M-C)
Brightens the timbre by reinforcing the harmonic or inharmonic content of pitch-synchroniseB grains
[259],psow space,Split alternate pitch-sync'd grains spatially creating subharmonics
Alternating grains spatially is like having two separate sound-streams, each at half the original pitch, so that the pitch drops by an octave. The pitch can be lowered even further, dividing the frequency by 3,4 or 5.  
[260],psow split,Split pitch-sync'd grains into subharmonic and upwardly transposed pitch
Splits (vocal) pitch-synchronized grains into subharmonic and upwardly transposed pitch. The pitch is transposed up without changing the timeframe or the vowels; a subharmonic frequency is also added. 
[261],psow locate,Find nearest pitch-synchronized grain to specified time (* NOT WORKING)
In XTRA menu - always seems to produce error messages.
[262],psow grab,Grab pitch-synchronized grain/chunk and optionally repeat
Granular sustain: this grabs a group of grains at the specified time and freezes it by repetition for a given outfile time. Around 50 grains or more are recommended - a small number produces a hiss - and some gain reduction is also advisable. Applied to a steady musical note, this can be an effective way of prolonging the sound over any length.  
NB: processing may take some time. Experiment with short lengths first.
PSGRAB is needed for PSINTERP - select an OUTLENGTH of zero.
[263],psow cutatgrain,Cut file at time of specified pitch-synchronized grain (* NOT WORKING)
In XTRA menu - always seems to produce error messages.
[264],psow chop,Chop sound into segments based on pitch-synchronized grains (MULTI-OUTs: MONO)
A segmenting process based on pitch-synchronised grains.
[265],psow impose,Impose pitch-synchronized grains on 2nd sound
Attempts to impose pitch-synchronized grains from one soundfile onto another. Unusually for CDP, the imposing sound is Infile1 and that being imposed upon is Infile 2. The output (cell following Infile 1) predominantly reflects the content of Infile 2, though the outfile length is approximately that of Infile 1.
[266],psow interleave,Interleave pitch-synchronized grains
Groups of pitch-synchronised grains from two sources are merged.
*** For now, Infile 2 must be a MONO .wav file *** 
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IN 1: .wav  In 2: .wav (MONO) OUT: .wav
[267],psow replace,Combine pitch-synchronized grains with pitch of 2nd sound
An unusual hybrid in which the pitch is apparently taken from the second sound, though this may not be detectable. 
*** For now, Infile 2 must be a MONO .wav file *** 
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IN 1: .wav  In 2: .wav (MONO) OUT: .wav
[268],psow interp,Interpolate between two (groups of) pitch-synchronised grains saved via PSGRAB
Morphs between a group of grains taken from the first sound via PSGRAB and one similarly taken from the second sound. For each sound, run PSGRAB first, with OUTLENGTH=0 and set GRAINS for the size of the group.
NB if the infiles are not the result of PSGRAB, you will get an error message.
[269],psow synth,Impose pitch-synchronized grains on a synthesized sound
The output is likely to retain some character of the input sound.
[2691],fofex extract (CDP8)
NOT YET IMPLEMENTED
[2692],fofex construct (CDP8)
NOT YET IMPLEMENTED
[2693],tweet (CDP8)
NOT YET IMPLEMENTED 
[270],retime 1,Retime events in an articulated sound
1: Output events at regular times separated by silences as necessary
Requires textfile of peak times in input sound, to mark times of events
[271], retime 2,Retime events in an articulated sound
2: Adjust times of events,outputting them at specified new times
Requires textfile of peak times in input sound (Col.1) and new times (Col.2) preceded by:
1) Presumed tempo of events in input (in MM/BPM) for comparison with new tempo
2) Time of first accented event; must be one of the times in column 2
[2721],retime 3,Shorten event lengths in soundfile containing silences
Shortens length of silence-separated sound events (but not the silences themselves)
[2722],retime 4,Output silence-separated events at regular times
Retimes silence-separated events placing them on a regular beat
[2723],retime 5,Change speed of silence-separated events in a soundfile
Retimes silence-separated events, playing them faster or slower. (Overlap is possible.)
[2724],retime 6/7,Reposition silence-separated events at specified beats/times
Events are output at the times or beats specified (times/beats must increase)
[2725],retime 8,Repeat a specified silence-separated event
Identify an event by approx. time and repeat a number of times
Beat parameter gives required event length in beats (i.e. whole event may not be repeated)
[2726],retime 9,Mask some silence-separated events using pattern of 0/1s
Deletes some events (marked 0) and includes others (marked 1); pattern repeated as necessary 
[2727],retime 10,Adjust the levels of silence-separated events
Creates accent pattern among events using meter and equalize values
[2728],retime 11,Find longest/shortest silence-separated event
Find durations of shortest and longest silence-separated event in sound
[273],retime 13/14,Find peak and move all data so peak goes to specified time
Moves entire sound by inserting or removing silence
[274],envnu peakchop 1,Gate sound around peaks and replay at specified tempo
Retain signal around identified peaks and replay under tempo control.
[2750],ceracu,Repeat source at different delay times simultaneously (S/M-C out)
Sets up several sound streams each with different delay time and recombines them to give polyrhythms.
[2751],madrid,spatially syncopated repetition of sound(s) across multi-channel space
Repeats one or more whole sounds and outputs these to multi-channel space. Several spatially distinct sound streams are produced, then some repetitions are randomly deleted to create spatial syncopation. 
NB If more than one input is used, they must have the same channel-count. 
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IN 1: .wav, IN 2[,3...]: .wav  OUT: .wav (multichannel)
[2752],shifter,Simultaneous repetition cycles with shifting focus and multi-source option (M-C out)
Sets up a number of polyrhythmic streams where the repetition-times are arranged so that the streams will re-synchronise after a specified number of cycles in each stream.
------------------------------------------------
IN 1: .wav, OPTIONAL IN 2[,3...]: .wav  OUT: .wav (multichannel)
[2753],shrink,Repeat a sound, shortening it on each repetition
The whole sound is repeated, but its length is shrunk on each repetition. The gap between repetitions can also be contracted, giving a bouncing-ball effect (see also BOUNCE [CDP8]). The outfile length, though specified, is determined by the rate of shrinkage. 
[2754],shrink 5/6,Repeat a sound shortening it on each repetition (MULTI-OUTs)
Variant of SHRINK: isolates events in the sound, giving multiple outputs which shorten from one to the next. Segments are based around found peaks or specified peak times.
[2760],pulser,Repeat short enveloped segments as pulses (CDP8)
Streams iterated sound-packets extracted from source sound 
[2761],pulser multi,Repeat short enveloped segments as pulses. (CDP8)
As PULSER but with multiple sources 
Streams iterated sound-packets extracted from several source sounds 
[2762],pulser synth,Iterate synthesised sound-packets (CDP8)
Synthesises enveloped "sound packets" to give a pulsed effect. Up to 64 partials can be declared and these can static, time-varying or random. 
[2770],bounce,Bounce a sound: accelerating repeats decaying in level (CDP8)
Similar to ECHO, but with added acceleration 
[2771],repeater,Repeat specified elements (CDP8)
A datafile specifies the segments to repeat, the no. of repeats and either the delay time between repetitions or the gap time between them. 
[2772],motor,Create pulse-stream within slower pulsed-enveloping (SINGLE or MULTI-SOURCE) (CDP8) 
[2773],rotor,Generate note-sets which grow & shrink in pitch-range and speed (CDP8)
Description to come...
[2774],sorter,Re-organise chopped elements by loudness or duration (CDP8)
SORTER cuts elements from the source and re-orders them by size or loudness.
 (not fully implemented)
[2775],stutter,Randomly repeat cut segments (CDP8)
Randomly repeats segments cut from elements, with possible intervening silence and limited transposition at each segment. The process is also useful for extending a sustained sound (e.g. a note) by playing random portions of it. 
[2776],tesselate,Repeat pattern shifting in space and time (MULTI-INPUTS) (CDP8)
Repeats a number of different sources with staggered start-times and projects these across stereo or multi-channel space. 
[2777],cascade,Echo segments superimposing these on source (CDP8)
Echoes a given segment a number of times and mixes the echoes with the original soundfile (played 'straight'). There is no way to adjust the level of the echoes, but the effect may be useful as a background 'gloss'. 
[2778],envspeak 1-12,Process enveloped segments (CDP8)
SEGENV(1) manipulates segments cut from the source, found by envelope. Manipulations include simple repetition of segments, reversal, attenuation, shrinking and random selection.  
[2779],envspeak 13-24,Process cut segments (CDP8)
SEGENV(2) manipulates segments cut from the source, found by cut times. Manipulations include simple repetition of segments, reversal, attenuation, shrinking and random selection.  
[2780],clip,Clip a signal (CDP8)
Clipping distorts by cutting off the top of a waveform above a certain level (normally 100%). Here, you can set the level at which to clip the signal. 
[2781],dvdwind,Shorten signal by skipping portions (CDP8)
A read-skip-read procedure simulating the way signal is read in a CD/DVD when fast-forwarded. 
[2783],quirk,Distort signal by raising sample values to a power (CDP8)
POWER distorts the signal by raising sample values to a power.  The power factor is applied to individual half-wavesets or to the whole file.  
[2800],verges,Play source with brief moments of glissando (CDP8)
Introduces a glissando up or down at or near the times specified. The duration and speed of the glissando can be set. 
[2810],waveform,Generate wavetable from existing sound (CDP8)
Extracts a clip from a sound, or imposes it on a sine wave. 
[2811],fractal wave,Fractally distort input sound or wavecycle (CDP8)
Distort whole soundfile by transposition or generate fractals from wavecycle, using MIDI-pitch data. The fractal pattern may optionally be timestretched and/or interval-warped.
[2820],spin stereo,Spin a wide stereo image across stereo/multichannel space (CDP8)
Rotates a stereo sound within stereo or multichannel space, with optional doppler shift. 
Soundshaper can accept mono input, but alters its patchgrid copy of the source to stereo.
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IN: .wav (Stereo)  OUT: .wav (stereo or multichannel)
[2821],spin quad,Spin two wide stereo images across multichannel space (CDP8)
Rotates two stereo sounds around multichannel space (min. 5 chans), with optional Doppler Shift. 
Soundshaper will convert a first mono source to stereo, but not the second, which must already be stereo.
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IN 1: .wav (Stereo), IN 2: .wav (Stereo)  OUT: .wav (multichannel)
[2831],crumble,Project segments spatially with possible timestretch (CDP8)
Projects mono segments over progressively smaller groups of channels in multi-channel space, with possible timestretch.
NOT WORKING?
[2832],crystal, ?? (CD8)
NOT IMPLEMENTED YET
[2835],extspeak,CDP8 proposed but not included
[2840],fturanal synth,Re-assemble soundfile (MONO) from spectral features data (CDP8)
NOT FULLY IMPLEMENTED: appears not to be working
[300],sausage,Multi-function brassage (original version: MONO in only; *not M-C)
NO LONGER SUPPORTED - USE GRAIN MODE 7 (sausage)
[3000],n/a,Run user batch file
[3500],n/a,Run Csound file (output only)
[3501],n/a,CSOUND: Run user Csound script
[3510],n/a,Run Csound file (wav-infile)
[3520],n/a,Run Csound file (2-inputs)
[3530],n/a,Run Csound file (>2 inputs)
[3550],n/a,Extreme timestretch (CSOUND 64-bit only)
Paulstretch is capable of very long timestretches.
Available also as standalone program: https://hypermammut.soundforge.net/paulstretch
[301],reverb,Multi-channel reverberation (natively M/S in, optional M-C out)
Direct signal is fed to outchans 1-2; multichannel reflections up to 16 chans
[302],rmverb,Multi-channel reverb. with room simulation (natively M/S in, optional M-C out)
Direct signal is fed to output chans 1-2; multichannel reflections up to 16 chans
[303],tapdelay,Delay line with multiple delay times 
Delay line with user-defined delay times (taps), amplitude and optional pan for each tap. Without feedback, the tap times apply a simple rhythm to the input sound. With feedback, each tapped signal is returned to the input, generating further delays in the same pattern.
[304],rmresp,Generate early-reflection data for REVERB programs (DATAFILE OUT)
[305],recsf,Record a soundfile from soundcard
[306],paplay,Play a soundfile: mono, stereo or multi-channel
Play a soundfile on any available output device, via console window
DEPRECATED: USE PVPLAY 
[307],sfprops,Display multi-channel soundfile properties
[308],copysfx,Copy/convert soundfiles to/from various file formats
[3081],copysfx,Change multi-channel soundfile to WAVE_EX format (RUNS DIRECTLY WITHIN SAME CELL)
[309],channelx,Extract selected channels (mono) from stereo or multi-channel file (MULTI-OUTs)
[310],interlx,Interleave Mono/Stereo files with same chan. count and sample-rate (NO PARAMS., STEREO/M-C out)
Infiles must have same no. of chans and sample rate; Output format as infile 1, max. 16 chans. 
Infile can be repeated (e.g. to write mono-->quad), or 0 for silent chan.:click on blank source-cell.
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IN 1: .wav (M/S), IN 2[,3...]: .wav (M/S)  OUT: .wav (Stereo or multichannel)
[311],nmix,Mix two soundfiles with same channel count (M/S/M-C in)
Simple mix of two soundfiles with same channel count; optional OFFSET parameter. 
[312],abfpan,Ambisonic Pan: Apply 1st or 2nd-order B-Format pan to soundfile (natively mono).
Non-mono source is channelised, processed, and outputs mixed.
[313],fmdcode,Decode Ambisonic B-format file ((M/S/M-C in) to a choice of speaker layouts.
Decode 1st or 2nd order .AMB file to a number of standard speaker layouts.
Non m-c file is converted to quad before use (orig. is restored).
[314],pvplay,Play a Soundfile or Frequency Analysis file (.ana) with full parameters
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IN: .wav or .ana  OUT: no file - plays via console 
[315],dshift,Generate Doppler-shift transposition data from panfile (.brk)
[316],chorder,Change order of channel numbers within a multi-channel soundfile (WAVE-EX out)
Change order of channels. N.B. WAVE-EX output; for standard .WAV use Move Channels
Infile channels are mapped as a=1,b=2...z=26; order_string gives new order, e.g. adcb; 0=silent chan
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IN: .wav (Multichannel)  OUT: .wav (Multichannel) 
[317],rmsinfo,Report RMS and average power level statistics (supports m-c files)
[318],chxformat,Change the GUID or speaker position flags in a WAVE_EX file
Utility for WAVEX format soundfiles. WARNING: this program modifies the file header.
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IN: .wav (WAVE-EX Multichannel)  OUT: .wav (WAVE-EX Multichannel)
[319],alias,Alias: create shortcut to file (not implemented) 
NOT CURRENTLY SUPPORTED
[320],fastconv,FFT-based convolver
Channels: 1) Infile mono, or same no. of chans as impulse file; 2) Infile m-ch: impulse file must be mono
Convolution reverb or filtering - Soundfile 2 acts as impulse file
[321],njoin,Concatenate multiple files (same no. of chans and sample-rate) into a single file
Files must match sample rate and number of channels, but can have different sample types.
Output sample format is taken from file with highest precision.
[322],interlx,Interleave mono/stereo soundfiles into a WAVE-EX or standard multichannel file.
Max. 16 chans; Output format as infile 1; Infiles must have matching sample rate & no. of chans.
TYPE 0: Standard WAV; 1-8: WAVE-EX  1: Generic  2:Mono/stereo/quad  3: quad surround (L,C,R,S)
4: 5.1 surround 5: Ambisonic B-format  6: 5.0 surround  7: 7.1 surround  8: Cube surround
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IN 1: .wav (M/S), IN 2[,3...]: .wav (M/S)  OUT: .wav (Stereo or multichannel [WAVE-EX])
[323],interlx,Convert Stereo to Multi-channel file (duplicated 1-2, 3-4, 5-6 etc.)
Infile: stereo; out-chans: multiple of 2. Duplicates file across channels 1-2, 3-4, etc.
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IN: .wav (Stereo)   OUT: .wav (Multichannel)
[324],interlx,Convert Mono to Multi-channel file (same signal in all channels)
Infile: mono; stereo converted to mono. Out-chans: 2-16. Duplicates file across all channels.
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IN: .wav (Mono)   OUT: .wav (Stereo or Multichannel)
[400],repitch combine,Combine Pitch+Pitch to Transpostion file
[401],repitch combine,Combine Pitch+Pitch(.brk) to Transpostion file
[402],repitch combine,Combine Pitch+Transposition to Pitch file
[403],repitch combine,Combine Pitch+Transpostion(.brk) to Pitch file
[404],repitch combine,Combine Transp.+Transp. to Transp. file
[405],repitch combine,Combine Transp.+Transp.(.brk) to Transp. file
[406],repitch combineb,Combine Pitch+Pitch to Transp.(.brk) file
[407],repitch combineb,Combine Pitch+Pitch(.brk) to Transp.(.brk) file
[408],repitch combineb,Combine Pitch+Transp. to Pitch(.brk) file
[409],repitch combineb,Combine Pitch+Transp.(.brk) to Pitch(.brk) file
[410],repitch combineb,Combine Transp.+Transp. to Transp.(.brk) file
[411],repitch combineb,Combine Transp.+Transp.(.brk) to Transp.(.brk) file
[415],pitchinfo see,View transposition data as pseudo-soundfile
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IN: .trn   OUT: .wav (VIEW ONLY)
[416],ptobrk withzeros,Convert binary pitch file (.frq) to breakpoint pitch file (.brk)
This gives a very dense analysis and is especially for .frq files with unpitched data.
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IN: .frq  OUT: .pch / .brk
[420],repitch approx,Make approximate copy of pitch data file
[4201],repitch approx,Make approximate copy of extracted pitch
[421],repitch cut,Extract segment of pitch data
[422],repitch exag,Exaggerate pitch contour in pitch data file
[4221],repitch exag,Exaggerate contour of extracted pitch
[423],repitch fix,CUT / FILTER / SMOOTH / MARK pitch data
[424],repitch invert,Invert pitch contour in pitch data file
[4241],repitch invert,Invert contour of extracted pitch retaining formants
[425],repitch quantise,Quantise pitches in pitch data file
[4251],repitch quantise,Quantize extracted pitch retaining formants
[426],repitch randomise,Randomise pitch in pitch data file
[4261],repitch randomise,Randomise extracted pitch retaining formants
[427],repitch pchshift,Transpose pitch in pitch data file
[4271],repitch pchshift,Transpose extracted pitch by fixed interval and retaining formants
[428],repitch smooth,Smooth pitch contour in pitch data file
[4281],repitch smooth,Smooth extracted pitch contour retaining formants
[429],repitch vibrato,Add vibrato to pitch in pitch data file
[4291],repitch vibrato,Add vibrato to extracted pitch retaining formants
[430],repitch vowels,Create spectrum of vowels  from pitchfile
[431],repitch generate,Synthesise pitchfile (.frq) from Time-MIDI data
This function can be use to create quantized or smoothed pitch data.
Note that the pitches created will only be heard to the extent that they are also present in the formant file (.for) with which it may be combined later (using MAKESPEC). 
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IN: none  OUT: .frq
[432],repitch synth,Synthesise spectrum (.ana) from pitchfile (.frq)
This creates a playable sound corresponding to the pitch data
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IN: .frq  OUT: .ana (.wav)
[433],repitch insertsil,Insert silence into pitchfile
Normally requires a file of from-to times, best generated on the MAIN page (as .frq not playable on param. page)
[434],repitch insertzeros,Insert unpitched areas into pitchfile
[435],repitch noisetosil,Replace unpitched areas of pitchfile with silence
[436],repitch pitchtosil,Replace pitched areas of pitchfile with silence
[437],repitch pchtotext,Convert binary pitch file (.frq) to breakpoint pitch file (.pch/.brk)
This gives a good outline of the pitch contour; good for controlling some other parameter.
[438],repitch interp 1,Interpolate pitch replacing noise or silence (Glide mode)
[4381],repitch interp 2,Interpolate pitch replacing noise or silence (Sustain mode)
[439],repitch getpitch 1/2,Set defaults for GETPITCH (.frq or .pch/.brk)
Default values are used for auto-conversion in the background and can be changed at any time.
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IN: none  OUT: none
[440],brktopi,Convert breakpoint pitch file (.pch / .brk) to binary pitch file (.frq)
Converts between breakpoint and binary versions of pitch data.
Complements PchtoBrk, which converts binary (.frq) to breakpoint (.pch) 
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IN: .pch / .brk  OUT: .frq
[451],pitchinfo info,Display pitchfile information (NO PARAMS.)
[452],pitchinfo zeros,Find unpitched windows in pitchfile (NO PARAMS.)
[453],pitchinfo see,View pitch data as pseudo-soundfile
Input is a pitch data file (.frq); an analysis (.ana) or soundfile (.wav) input is auto-converted.  
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IN: .frq (.ana/.wav)   OUT: .wav (VIEW ONLY)
[454],pitchinfo hear,Audition pitch contour (pitchfile --> analysis file)
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IN: .frq  OUT: .ana (.wav) 
[455],pitchinfo convert,Convert binary pitch file (.frq) to breakpoint pitch file (.pch /.brk)
Converts between binary and breakpoint versions of pitch data.
Complements BrkToPch, which converts breakpoint (.pch) to binary (.frq) 
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IN: .frq   OUT: .pch / .brk
[460],spectune,Find most prominent pitch and transpose file to it (CDP8) 
[461],spectstr,Time-stretch suppressing artefacts (CDP8)
Variant of original STRETCH TIME.  
[4611],specstr,Time-stretch and speed-transpose by same amount
Soundshaper composite that stretches/shrinks and then speed-transposes.
Output may not synchronise exactly with the source, however. 
[462],specenv,Apply spectral envelope of File 2 to File 1 (CDP8)
A variant of VOCODE and CROSS. The applied file (Infile 2) must be at least as long as Infile 1.
[463],specfold,Fold, invert or randomise the spectrum (CDP8)
[4631],focus fold,Fold or invert the spectrum within given band or around a given frequency.
[464],suppress,Suppress partials in a given frequency band (CDP8)
A variant of SUPPRESS - removes most prominent partials - and paired with it. This version allows you to specify the freuqnecy band to suppress.
[465],caltrain,Blur upper spectral channels (CDP8)
A variant of BLUR, affecting partials above a given frequency
[466],fractal spectrum,Fractally distort spectrum by transposition (CDP8)
Distorts the spectrum fractally by transposition. The breakpoint file SHAPE defines a time-transposition contour which is repeated over every sub-unit of the pattern, and every sub-sub-unit etc. until the smallest time-unit is reached. It is possible to distort just a portion of the input sound.
[467],specfnu 1-6,Narrow/squeeze/invert/rotate formants (CDP8)
SPECFMT modifies the spectral shape under formant peaks. Many of the modes have parallels in other processes, but here they are preserving the formant peaks. Modes are: narrow, squeeze, invert, rotate formants and spectral negative.
[4671],specfnu 7, Generate filter data based on formant peaks (CDP8)
NOT YET IMPLEMENTED
[4672],specfnu 8-9,Move formants by or to given freq. (CDP8)
[4673],specfnu 10,Arpeggiate partials under formants (CDP8)
Aims to arpeggiate partials up or down while retaining original formants.
NOT WORKING? - OUTPUT IS ZERO
[4674],specfnu 13-14 & 19, Shift partials under formants (CDP8)
Frequency-shift, respace or randomly shift frequencies, preserving the orginal formants. This is particularly useful for vocal processing.
[4675],specfnu 15, Invert pitch under formants (CDP8)
Inverts the pitch contour around a given pitch, while preserving the original formants.  The choice is between mirror inversion, or using a mapping text file (in semitones) of intervals and their inversions. 
[4676],specfnu 16,Exaggerate/smooth pitch under formants (CDP8)
Exaggerates or smoothes the pitch contour, retaining the original formants. It measures the interval from a given pitch to the actual pitch and then applies a multiplier to the interval, exaggerating or smoothing it.
[4677],specfnu 17,Quantise pitch under formants (CDP8)
Quantizes pitch while preserving the original formants. The actual pitches are forced onto the nearest listed pitch value. 
[4678],specfnu 18,Randomise pitch under formants (CDP8)
Randomizes pitch while preserving the original formants, and optionally quantizes it first.
[468],specfnu 23,Sine Speech: convert formant frequencies to sine tones (CDP8)
Converts formant frequencies into sine tones. A single sine wave represents each of four formants. The pitches are optionally quantized to a template textfile. The output preserves the rhythm and much of the character of the input.
[470],repitch transpose,Transpose pitch preserving time (but not formants) 
[4701],specfnu 11-12,Transpose pitch preserving time and formants (CDP8)
Transposes pitch, preserving time and the original formants. May be compared with the earlier CDP processes repitch pchshift and pitch octmove; the three approaches are available on the same parameter page.
[471],speculate,Permutate spectral channel data to create multiple versions of source (CDP8)
Swaps channel data in a permutation sequence, producing an output file at each swap, typically hundreds overall.
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IN: .ana (.wav) MONO  MULTI-OUTs: .ana 
[4802],fturanal,Create features file for re-assembly by FTURANAL SYNTH (CDP8)
NOT FULLY IMPLEMENTED
[501],copysfx,Copy source file to new row using copy or copysfx
Output of a copy operation in the patchgrid.
[520],n/a,Convert breakpoint values to ratios of the first value (e.g. pitch to tran)
Convert values in breakpoint file to ratios, e.g. for transposition
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IN: none  OUT: .brk
[521],n/a,Get transposition breakpoint file (ratio.brk)
Extract pitch breakpoint and convert to transposition ratios 
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IN: .ana (.wav)  OUT: .brk
[6000],n/a,Position/move each channel within stereo space (STEREO in/out)
[6010],n/a,Position or move two mono signals within stereo space (*2 MONOs in, STEREO out)
Place each sound (e.g. L and R signal) within stereo mix.
Process currently accepts only MONO inputs.
[1000],n/a,Launch external Soundfile Editor
[1001],Viewsf,VIEWSF: CDP Soundfile Viewer
Zoom to pixel level display to getg accurate timings
[1002],Brkedit,BRKEDIT: CDP Graph Editor
Standalone alternative to Soundshaper's Graph-Edit
[1003],Grnmill,GRNMILL: CDP standalone version of GRAIN (brassage)
[1004],n/a,Convert between Freq. and MIDI Pitch
Soundshaper utility
[1005],n/a,Windows Calculator
[1006],n/a,Run favourite external program
[1007],n/a,Other favourite external programs...
[1008],n/a,MIDI-SEQ: Convert standard MIDI file to Sequencer file
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IN: MIDI file  OUT: .SEQ (datafile for SEQUENCER (CDP Sequence 2)
[1009]
[1010],n/a,Show CDP report window
[1011],n/a,Show which cell is the current one
[1012],n/a,Show cell data contents
[1013],n/a,Run CDP function via command line
[1014],n/a,Reset parameters when exiting parameter page 
[1015],n/a,Preview processed segment within original file, pre-paste
[1016],n/a,Show menu hints like this one 
[1017],n/a,Hide optional parameters 
[1018],n/a,Auto-convert spectral output to .wav to play (recommended) 
[1019],n/a,Open Project Folder for Load/Save operations 
[1020],n/a,Enable Csound (if installed) 
[1022],n/a,Enable global preset-file 
[1023],n/a,Show all CDP warnings (not recommended) 
[1024],n/a,Send Loop-points/Markers to relevant parameters
[1025],n/a,Play sound/analysis files on selection (recommended)
[1026],n/a,Scale screens and components (not recommended)
[1027],n/a,Scale screens only (not recommended)
[1028],n/a,Use online CDP dpcumentation
[1029],n/a,Set environment values / paths
[1030],n/a,Copy source (actual copy)
[1031],n/a,Scale times in data files to match current sound (recommended)  
[1032],n/a,Remake scripts (on re-running and updating old patches) 
[1033],n/a,Display console when processing (not recommended)