polyphon 0.0.0-stage → 0.1.0

package/dist/instruments/dsp/modal.d.ts.map

@@ -0,0 +1 @@
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package/dist/instruments/dsp/modal.js

@@ -0,0 +1,54 @@
+// Modal synthesis: a sum of exponentially decaying partials. Bells, mallets, kalimba, music box.
+import { Biquad, normalize, rng, tailFade } from './core.js';
+export function modal(sr, f, parts, o) {
+    const n = Math.floor(o.len * sr);
+    const y = new Float32Array(n);
+    const nyq = sr * 0.45;
+    const att = Math.max(1, Math.floor((o.attack ?? 0.001) * sr));
+    const r = rng(o.seed ?? Math.round(f * 13));
+    for (const [ratio, a, t60] of parts) {
+        const pf = f * ratio;
+        if (pf >= nyq)
+            continue;
+        const amp = o.mallet ? a / (1 + (pf / o.mallet) ** 2) : a;
+        const copies = o.beat ? [1, Math.pow(2, o.beat / 1200)] : [1];
+        for (const cm of copies) {
+            const w0 = (2 * Math.PI * pf * cm) / sr;
+            const k = Math.pow(10, -3 / (t60 * sr));
+            let env = amp / copies.length;
+            let ph = r() * 0.3;
+            for (let i = 0; i < n; i++) {
+                let w = w0;
+                if (o.bend && o.bendT) {
+                    const tt = i / sr;
+                    w = w0 * (1 + (o.bend - 1) * Math.exp(-tt / o.bendT));
+                }
+                ph += w;
+                y[i] += Math.sin(ph) * env;
+                env *= k;
+                if (env < 1e-6)
+                    break;
+            }
+        }
+    }
+    for (let i = 0; i < att && i < n; i++)
+        y[i] *= i / att;
+    if (o.click) {
+        const c = o.click;
+        const hz = c.hz < 40 ? c.hz * f : c.hz;
+        const bp = new Biquad(sr, 'bp', hz, c.q ?? 1.2);
+        const k = Math.pow(10, -3 / (c.t * sr));
+        let env = c.amp;
+        for (let i = 0; i < n && env > 1e-5; i++) {
+            y[i] += bp.run(r()) * env;
+            env *= k;
+        }
+    }
+    if (o.trem) {
+        const [rate, depth] = o.trem;
+        for (let i = 0; i < n; i++)
+            y[i] *= 1 - depth * 0.5 * (1 - Math.cos((2 * Math.PI * rate * i) / sr));
+    }
+    return tailFade(normalize(y), sr);
+}
+//# sourceMappingURL=modal.js.map

package/dist/instruments/dsp/modal.js.map

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package/dist/instruments/dsp/piano.d.ts

@@ -0,0 +1,9 @@
+/** Stretch tuning (cents) */
+export declare function pianoStretch(m: number): number;
+/** Seconds for the tail to decay 60 dB (fundamental) */
+export declare const pianoSustain: (m: number) => number;
+/** Piano sample: soft is the soft voicing (felt, warm, used for narrative and the ending) */
+export declare function piano(sr: number, m: number, soft?: boolean): Float32Array;
+/** Electric piano (Rhodes feel): 1:1 FM, modulation index decaying over time, plus a tuning-fork tine ring in the highs */
+export declare function epiano(sr: number, m: number): Float32Array;
+//# sourceMappingURL=piano.d.ts.map

package/dist/instruments/dsp/piano.d.ts.map

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package/dist/instruments/dsp/piano.js

@@ -0,0 +1,230 @@
+// Acoustic piano (modal, calibrated against real pianos) and electric piano (FM).
+import { Biquad, normalize, rng, tailFade } from './core.js';
+//
+// Modal synthesis: each partial of each string is a decaying oscillator. The parameters are calibrated against measurements of real pianos and piano recordings from Apple Loops:
+// - 1 to 3 strings per note (1 for the bass, 2 for the low-mid, 3 for the rest); each string is out of tune by a fraction of a cent and has a slightly different inharmonicity coefficient,
+//   and the beating between partials makes the sound alive rather than an electronic organ.
+// - Two-stage decay: the vertical vibration of the string hands its energy quickly to the soundboard (dropping about 12 dB right after the attack), while the horizontal vibration leaves a long tail;
+//   high partials get an extra loss proportional to the square of frequency (the Chaigne and Askenfelt string damping model).
+// - Excitation spectrum: partial amplitude is about inversely proportional to the square root of frequency, then falls away past a knee; the hammer strikes at about 1/8 to 1/13 of the string length, so partials near that point are weak.
+//   The sample is struck brightest (forte) and at playback is rolled off with a low-pass according to velocity (tone in instruments.ts): a light touch is dark, a hard strike bright.
+// - Soundboard: a fixed set of resonance peaks shapes the body's timbre; on the attack, the low-frequency thud of the soundboard being struck, and the hammer's brief scrape.
+// - Stretch tuning: bass slightly flat and treble slightly sharp (the Railsback curve), so octaves do not clash because of inharmonicity.
+/** Stretch tuning (cents) */
+export function pianoStretch(m) {
+    const d = m - 64;
+    return Math.sign(d) * 0.004 * Math.pow(Math.abs(d), 2.2);
+}
+/** Inharmonicity coefficient: smallest in the low-mid register, growing toward the lowest notes and the treble */
+function pianoB(m) {
+    return m <= 40 ? 6e-5 * Math.pow(2, (40 - m) / 14) : 6e-5 * Math.pow(2, (m - 40) / 9.3);
+}
+/** Seconds for the tail to decay 60 dB (fundamental) */
+export const pianoSustain = (m) => Math.min(30, Math.max(1.2, 30 * Math.pow(2, -(m - 21) / 24)));
+/** Frequency response of the soundboard and body (dB): shared by every note of the same piano */
+let boardDb = null;
+function board(f) {
+    if (!boardDb) {
+        const r = rng(90210);
+        const modes = [];
+        for (let i = 0; i < 34; i++) {
+            const fc = 70 * Math.pow(3200 / 70, (i + 0.5 + r() * 0.45) / 34);
+            modes.push([fc, 4.5 * r(), 3 + 4 * Math.abs(r())]);
+        }
+        boardDb = (x) => {
+            let g = 0;
+            for (const [fc, gain, q] of modes) {
+                const u = ((x - fc) * 2 * q) / fc;
+                g += gain / (1 + u * u);
+            }
+            return g;
+        };
+    }
+    // The soundboard radiates poorly at very low frequencies: it drops 12 dB per octave below 45 Hz
+    const hp = 1 / Math.sqrt(1 + Math.pow(45 / f, 4));
+    return Math.pow(10, boardDb(f) / 20) * hp;
+}
+/** Piano sample: soft is the soft voicing (felt, warm, used for narrative and the ending) */
+export function piano(sr, m, soft = false) {
+    const r = rng(m * 31 + (soft ? 7 : 0));
+    const f0 = 440 * Math.pow(2, (m - 69 + pianoStretch(m) / 100) / 12);
+    const Ts = pianoSustain(m);
+    const len = Math.min(9, Math.max(1.6, Ts * 0.85));
+    const n = Math.floor(len * sr);
+    const acc = new Float64Array(n);
+    const nyq = sr * 0.45;
+    const B = pianoB(m);
+    // Strings: how many, each one's detuning (cents), and the differences in inharmonicity coefficient
+    const nStr = m < 30 ? 1 : m < 42 ? 2 : 3;
+    const strings = [];
+    for (let k = 0; k < nStr; k++) {
+        const cents = nStr === 1 ? 0 : (k - (nStr - 1) / 2) * (0.9 + 0.6 * r()) + 0.35 * r();
+        strings.push([f0 * Math.pow(2, cents / 1200), B * (1 + 0.02 * r())]);
+    }
+    // The knee of the excitation spectrum moves up with pitch; the soft voicing is darker
+    const oct = Math.pow(2, (m - 40) / 24);
+    const fk = (soft ? 650 : 1200) * oct;
+    const fe = (soft ? 1700 : 3000) * oct;
+    // Hammer strike point (as a fraction of string length): about 1/8 for the bass, about 1/13 for the treble
+    const beta = 1 / (8 + Math.max(0, m - 21) * 0.058);
+    // From the middle of the keyboard up, the felt stays on the string for about a period of the note, which filters the upper
+    // partials away (12 dB per octave above the cutoff: ~530 Hz at C4, 420 Hz from C5 up) and leaves the treble round; it fades in between C3 and C4
+    const felt = Math.min(1, Math.max(0, (m - 48) / 12));
+    const feltCut = (soft ? 0.8 : 1) * 420 * Math.pow(2, Math.max(0, 72 - m) / 36);
+    // Decay: σ = base loss + b3·ω²; the early stage (handed over to the soundboard) is fast, the later stage (the tail) is slow
+    const Tf = Ts / 2;
+    const prompt = soft ? 0.55 : 0.6;
+    // Frequency-dependent loss at the level measured on real strings (Chaigne and Askenfelt): the highs die well before the fundamental
+    const b3 = soft ? 9e-9 : 6e-9;
+    /** [frequency, amplitude] of the first partials, for the sympathetic strings */
+    const struck = [];
+    for (let p = 1; p < 400; p++) {
+        const fp = p * f0 * Math.sqrt(1 + B * p * p);
+        if (fp > nyq)
+            break;
+        const lp = 1 / (1 + (fp / fk) * (fp / fk));
+        const ex = Math.exp(-fp / fe);
+        let amp = Math.sqrt((f0 / fp) * lp * ex);
+        amp *= Math.pow(1 + Math.pow(fp / feltCut, 4), -felt / 2);
+        amp *= Math.abs(Math.sin(Math.PI * p * beta)) * 0.92 + 0.08;
+        amp *= board(fp);
+        if (amp < 3e-4) {
+            if (fp > fk * 4)
+                break;
+            continue;
+        }
+        if (p <= 8)
+            struck.push([fp, amp]);
+        const w2 = Math.pow(2 * Math.PI * fp, 2);
+        const s1 = 6.9 / Tf + b3 * w2;
+        const s2 = 6.9 / Ts + b3 * w2;
+        const k1 = Math.exp(-s1 / sr);
+        const k2 = Math.exp(-s2 / sr);
+        for (const [fs, Bs] of strings) {
+            // Each partial is also shifted a tiny bit (string non-uniformity, bridge coupling), so the beats between strings do not all cancel neatly together
+            const jit = nStr > 1 ? Math.pow(2, (0.45 * r()) / 1200) : 1;
+            const w = (2 * Math.PI * p * fs * jit * Math.sqrt(1 + Bs * p * p)) / sr;
+            const cw = Math.cos(w);
+            const sw = Math.sin(w);
+            // A struck string starts from rest: every partial starts from sin 0
+            let re = 1;
+            let im = 0;
+            let e1 = (amp * prompt) / nStr;
+            let e2 = (amp * (1 - prompt)) / nStr;
+            const stop = amp * 1e-4 / nStr;
+            for (let i = 0; i < n; i++) {
+                acc[i] += im * (e1 + e2);
+                const nr = re * cw - im * sw;
+                im = re * sw + im * cw;
+                re = nr;
+                e1 *= k1;
+                e2 *= k2;
+                if (e1 + e2 < stop)
+                    break;
+            }
+        }
+    }
+    sympathetic(acc, sr, m, struck, b3);
+    const y = new Float32Array(n);
+    for (let i = 0; i < n; i++)
+        y[i] = acc[i];
+    // Set the volume by the energy in the first 0.25 s after the attack (rather than the peak): every note sounds equally loud, and loudness is left to playback velocity
+    let e = 0;
+    const w = Math.min(n, Math.floor(sr * 0.25));
+    for (let i = 0; i < w; i++)
+        e += y[i] * y[i];
+    const rms = Math.sqrt(e / w) || 1;
+    // The soundboard thud when struck: a few low-frequency soundboard modes, brief; relatively noticeable in the treble (short strings, quiet string sound)
+    const knockAmp = rms * (soft ? 0.35 : 0.55) * Math.min(1.6, Math.max(0.5, (m - 30) / 40));
+    const knock = [[96, 0.13, 1], [168, 0.09, 0.8], [281, 0.06, 0.6], [470, 0.035, 0.4]];
+    for (const [fq, dec, a] of knock) {
+        const bp = new Biquad(sr, 'bp', fq, 2.2);
+        const kd = Math.pow(10, -3 / (dec * sr));
+        let env = knockAmp * a * 6;
+        for (let i = 0; i < n && env > 1e-6; i++) {
+            y[i] += bp.run(r()) * env;
+            env *= kd;
+        }
+    }
+    // The hammer's scrape: mid-high frequencies, a few milliseconds
+    const hb = new Biquad(sr, 'bp', Math.min(5000, 1400 + f0 * 2), 0.9);
+    let he = rms * (soft ? 0.12 : 0.3);
+    const hk = Math.pow(10, -3 / (0.006 * sr));
+    for (let i = 0; i < n && he > 1e-6; i++) {
+        y[i] += hb.run(r()) * he;
+        he *= hk;
+    }
+    // Attack: it takes a moment for the hammer to push the string away (longer with the soft voicing's felt)
+    const att = Math.floor(sr * (soft ? 0.004 : 0.0015));
+    for (let i = 0; i < att && i < n; i++)
+        y[i] *= i / att;
+    const g = 0.25 / rms;
+    for (let i = 0; i < n; i++)
+        y[i] *= g;
+    return tailFade(y, sr);
+}
+/**
+ * Sympathetic resonance: strings left free by the dampers (the whole keyboard with the pedal down; the top of the treble always)
+ * pick up this note's partials through the bridge. A string answers in its n-th mode when that mode lands within a Hz or two of a partial:
+ * the strings an octave and a twelfth around a note answer, an equal-tempered third (14 cents off) barely does.
+ * Each answers at its own frequency (stretched tuning and inharmonicity differ), blooming in over a tenth of a second and ringing
+ * with its own decay, so the sound grows a soft halo that beats gently against the struck strings.
+ * The bloom is slow, so short unpedalled notes are damped before it is heard; held and pedalled notes carry it.
+ */
+function sympathetic(acc, sr, m, struck, b3) {
+    const n = acc.length;
+    for (const [fp, amp] of struck) {
+        if (fp > 4000)
+            break;
+        for (const mode of [1, 2, 3]) {
+            const key = Math.round(69 + 12 * Math.log2(fp / mode / 440));
+            if (key === m || key < 21 || key > 108)
+                continue;
+            const fs = 440 * Math.pow(2, (key - 69 + pianoStretch(key) / 100) / 12);
+            const f = mode * fs * Math.sqrt(1 + pianoB(key) * mode * mode);
+            const match = 1 / (1 + Math.pow((f - fp) / 1.5, 2));
+            const level = (amp * 0.12 * match) / mode;
+            if (level < 1e-4)
+                continue;
+            const decay = Math.exp(-(6.9 / pianoSustain(key) + b3 * Math.pow(2 * Math.PI * f, 2)) / sr);
+            const bloom = Math.exp(-1 / (0.08 * sr));
+            const w = (2 * Math.PI * f) / sr;
+            let env = level;
+            let rise = 1;
+            for (let i = 0; i < n && env > level * 1e-3; i++) {
+                acc[i] += Math.sin(w * i) * env * (1 - rise);
+                rise *= bloom;
+                env *= decay;
+            }
+        }
+    }
+}
+/** Electric piano (Rhodes feel): 1:1 FM, modulation index decaying over time, plus a tuning-fork tine ring in the highs */
+export function epiano(sr, m) {
+    const f = 440 * Math.pow(2, (m - 69) / 12);
+    const t60 = Math.max(1.2, 6 * Math.pow(0.5, (m - 48) / 24));
+    const len = Math.min(5, t60 * 0.8);
+    const n = Math.floor(len * sr);
+    const y = new Float32Array(n);
+    const w = (2 * Math.PI * f) / sr;
+    const k = Math.pow(10, -3 / (t60 * sr));
+    const kt = Math.pow(10, -3 / (0.35 * sr));
+    let env = 1;
+    let tine = 0.12;
+    let pc = 0;
+    let pm = 0;
+    for (let i = 0; i < n; i++) {
+        const t = i / sr;
+        const I = 1.6 * Math.exp(-t / 0.3) + 0.35;
+        pc += w;
+        pm += w;
+        y[i] = Math.sin(pc + I * Math.sin(pm)) * env + Math.sin(pc * 7.1) * tine;
+        env *= k;
+        tine *= kt;
+    }
+    const att = Math.floor(sr * 0.003);
+    for (let i = 0; i < att; i++)
+        y[i] *= i / att;
+    return tailFade(normalize(y), sr);
+}
+//# sourceMappingURL=piano.js.map

package/dist/instruments/dsp/piano.js.map

@@ -0,0 +1 @@
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package/dist/instruments/dsp/pluck.d.ts

@@ -0,0 +1,53 @@
+/** A body mode: [frequency Hz, boost at the peak in dB, Q]; it rings for about 2.2·Q/f seconds */
+export type BodyMode = [number, number, number];
+/** Classical guitar: the air in the body (~95 Hz) coupled to the top plate (~200 Hz), and the top's next modes around 400 Hz */
+export declare const GUITAR_BODY: BodyMode[];
+/** Steel-string guitar: a larger, stiffer top braced for the strings' higher tension */
+export declare const STEEL_BODY: BodyMode[];
+/** Lute and oud: a light bowl-backed body with a thin top, modes higher than a guitar's */
+export declare const LUTE_BODY: BodyMode[];
+/** Violin family (pizzicato): the air mode A0 and the corpus modes B1-, B1+ */
+export declare const VIOLIN_BODY: BodyMode[];
+/** Concert harp: the long soundboard and the box behind it */
+export declare const HARP_BODY: BodyMode[];
+/** Hammered dulcimer: a shallow trapezoid box */
+export declare const DULCIMER_BODY: BodyMode[];
+export interface KsOpts {
+    /** Length in seconds */
+    len: number;
+    /** Seconds for the fundamental to decay to -60 dB (at this pitch) */
+    t60: number;
+    /** How fast the string is let go, 0-1: the pluck's low-pass, from 2 kHz (soft flesh) to 16 kHz (plectrum, hammer) */
+    bright: number;
+    /** Pluck position as a fraction of the string length, 0-0.5 (the nearer the bridge, the more overtones) */
+    pos: number;
+    /** Frequency-dependent string loss b3 (s⁻¹ per (rad/s)²): a partial at ω decays b3·(ω² − ω0²) per second faster than the fundamental. 2e-8 lets a 2 kHz partial ring about 1.5 s (steel), 6e-8 about 0.6 s (nylon) */
+    loss: number;
+    /** Detune of the second string (cents); 0 means a single string */
+    detune?: number;
+    /** Body modes */
+    body?: BodyMode[];
+    /** Loudness by register, dB per octave from middle C (the shorter, lighter treble strings move less air) */
+    tilt?: number;
+}
+/** A plucked string (or a course of two) through its instrument's body */
+export declare function ks(sr: number, f: number, o: KsOpts): Float32Array;
+export interface PluckOpts {
+    len: number;
+    /** Seconds for the fundamental to decay to -60 dB; higher harmonics progressively faster */
+    t60: number;
+    /** Pluck position 0-0.5 (decides which harmonics are weakened) */
+    pos: number;
+    /** Harmonic slope (the larger, the darker) */
+    tilt: number;
+    /** Frequencies of the body resonances (Hz): they sound together at the instant of the pluck and vanish quickly */
+    body: number[];
+    /** Amount of the finger's dull thump */
+    thump: number;
+}
+/**
+ * Additive-synthesis plucked string: each harmonic decays on its own (the higher, the faster), slightly inharmonic, plus body resonance and the finger's dull thump.
+ * In the bass range Karplus-Strong decays down to a pure sine (like a synthesizer); this model keeps the woody mid-range.
+ */
+export declare function pluckAdd(sr: number, f: number, o: PluckOpts): Float32Array;
+//# sourceMappingURL=pluck.d.ts.map

package/dist/instruments/dsp/pluck.d.ts.map

@@ -0,0 +1 @@
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package/dist/instruments/dsp/pluck.js

@@ -0,0 +1,195 @@
+// Plucked strings: Karplus-Strong for guitars, harps and dulcimers; an additive model for bass plucks.
+import { Biquad, normalize, rng, tailFade } from './core.js';
+/** Classical guitar: the air in the body (~95 Hz) coupled to the top plate (~200 Hz), and the top's next modes around 400 Hz */
+export const GUITAR_BODY = [[96, 7, 14], [205, 6, 16], [400, 3.5, 12], [560, 2, 10]];
+/** Steel-string guitar: a larger, stiffer top braced for the strings' higher tension */
+export const STEEL_BODY = [[102, 6, 14], [190, 5, 16], [380, 3, 12], [650, 2, 10]];
+/** Lute and oud: a light bowl-backed body with a thin top, modes higher than a guitar's */
+export const LUTE_BODY = [[125, 5, 12], [260, 5, 14], [520, 3, 10]];
+/** Violin family (pizzicato): the air mode A0 and the corpus modes B1-, B1+ */
+export const VIOLIN_BODY = [[275, 6, 12], [460, 5, 14], [540, 4, 14]];
+/** Concert harp: the long soundboard and the box behind it */
+export const HARP_BODY = [[110, 3, 8], [190, 3, 10], [330, 2, 10]];
+/** Hammered dulcimer: a shallow trapezoid box */
+export const DULCIMER_BODY = [[180, 4, 12], [320, 4, 12], [610, 2.5, 10]];
+/**
+ * The whole body: the listed low modes, then the many plate and cavity modes above them, too dense to list (24 of them log-spaced up to 4 kHz,
+ * -2 to +3 dB, Q 12-30). Each colours the partials near it and rings for some tens of milliseconds, so the bridge's sharp pulse each period
+ * comes out as a short wooden ring rather than a bare click train.
+ */
+function bodyModes(body) {
+    const r = rng(Math.round(body[0][0] * 97));
+    const lo = body[body.length - 1][0] * 1.25;
+    const dense = [];
+    for (let i = 0; i < 24; i++)
+        dense.push([lo * Math.pow(4000 / lo, (i + 0.5 + 0.4 * r()) / 24), 0.5 + 2.5 * r(), 21 + 9 * r()]);
+    return [...body, ...dense];
+}
+/** Pass x through the body (in place): each mode adds a resonant band-pass, so a mode of gain G dB lifts its frequency by G dB */
+function throughBody(sr, modes, x) {
+    const bank = modes.map(([hz, gain, q]) => [new Biquad(sr, 'bp', hz, q), Math.pow(10, gain / 20) - 1]);
+    for (let i = 0; i < x.length; i++) {
+        const v = x[i];
+        let s = v;
+        for (const [bp, k] of bank)
+            s += k * bp.run(v);
+        x[i] = s;
+    }
+}
+/** Per round trip, the one-pole loop filter g·(1−p)/(1−p·z⁻¹) passes this much at ω relative to its gain g */
+const onePole = (p, w) => (1 - p) / Math.sqrt(1 - 2 * p * Math.cos(w) + p * p);
+/**
+ * One string, heard through the body; returns the output and the bridge force it starts from (its level the instant before the string is let go).
+ * Body and string are both linear, so the body can come first (commuted synthesis): it filters the pluck, a fraction of a second long, rather than the whole note.
+ */
+function ksString(sr, f, o, body, ring) {
+    const n = Math.floor(o.len * sr);
+    const y = new Float32Array(n);
+    const P = sr / f;
+    const w0 = (2 * Math.PI * f) / sr;
+    // Decay per second of a partial at x Hz, σ = b1 + b3·ω²: b1 is set so the fundamental keeps the T60 asked for, unless the string's own
+    // loss at that frequency is already faster (the top of the harp)
+    const b1 = Math.max(0.1, 6.91 / o.t60 - o.loss * Math.pow(2 * Math.PI * f, 2));
+    const sigma = (x) => b1 + o.loss * Math.pow(2 * Math.PI * x, 2);
+    // The loop filter g·(1−p)/(1−p·z⁻¹) loses σ(x)/f per round trip: matched at the fundamental and at a frequency high in the spectrum
+    const fr = Math.min(0.4 * sr, Math.max(4000, 3 * f));
+    const wr = (2 * Math.PI * fr) / sr;
+    const G0 = Math.exp(-sigma(f) / f);
+    const want = Math.exp(-(sigma(fr) - sigma(f)) / f);
+    let lo = 0;
+    let hi = 0.995;
+    for (let i = 0; i < 40; i++) {
+        const p = (lo + hi) / 2;
+        if (onePole(p, wr) / onePole(p, w0) > want)
+            lo = p;
+        else
+            hi = p;
+    }
+    // It must not gain at 0 Hz, where it loses b1 (on the highest strings this caps how fast the highs can die)
+    const gMax = Math.exp(-b1 / f);
+    if (G0 / onePole(hi, w0) > gMax) {
+        lo = 0;
+        for (let i = 0; i < 40; i++) {
+            const p = (lo + hi) / 2;
+            if (G0 / onePole(p, w0) > gMax)
+                hi = p;
+            else
+                lo = p;
+        }
+    }
+    const p = lo;
+    const g = G0 / onePole(p, w0);
+    // Tuning: the loop filter's phase delay at the fundamental comes off the delay line, and an allpass supplies the remaining fraction of a sample
+    const tau = Math.atan2(p * Math.sin(w0), 1 - p * Math.cos(w0)) / w0;
+    const L = Math.max(2, Math.floor(P - tau - 0.2));
+    const frac = P - tau - L;
+    const C = (1 - frac) / (1 + frac);
+    // The pluck: one period of the bridge force, summed from its harmonics (a rectangular wave of duty pos, centred on the start, rounded by the release)
+    const fc = 2000 * Math.pow(8, o.bright);
+    const exc = new Float32Array(L + 1 + ring);
+    for (let h = 1; h * f < sr * 0.45; h++) {
+        const a = (2 * Math.sin(Math.PI * h * o.pos)) / (Math.PI * h) / Math.sqrt(1 + Math.pow((h * f) / fc, 2));
+        const dw = (2 * Math.PI * h) / P;
+        for (let i = 0; i <= L; i++)
+            exc[i] += a * Math.cos(dw * i);
+    }
+    const held = exc[0];
+    throughBody(sr, body, exc);
+    let lpv = 0;
+    let apIn = 0;
+    let apOut = 0;
+    for (let i = 0; i < n; i++) {
+        const d = i >= L ? y[i - L] : 0;
+        lpv = (1 - p) * d + p * lpv;
+        const ap = C * lpv + apIn - C * apOut;
+        apIn = lpv;
+        apOut = ap;
+        y[i] = (i < exc.length ? exc[i] : 0) + g * ap;
+    }
+    return [y, held];
+}
+/** A plucked string (or a course of two) through its instrument's body */
+export function ks(sr, f, o) {
+    const body = o.body ? bodyModes(o.body) : [];
+    const ring = Math.ceil(sr * Math.max(0, ...body.map(([hz, , q]) => (2.6 * q) / hz)));
+    const [y, held1] = ksString(sr, f, o, body, ring);
+    let held = held1;
+    if (o.detune) {
+        const [y2, held2] = ksString(sr, f * Math.pow(2, o.detune / 1200), o, body, ring);
+        for (let i = 0; i < y.length; i++)
+            y[i] = 0.55 * (y[i] + y2[i]);
+        held = 0.55 * (held1 + held2);
+    }
+    // Before the release the finger holds the string with a steady force on the bridge, which makes no sound. Measured from there the sound
+    // starts from silence (no click), and letting go is a sudden push on the body; the body radiates poorly below its air mode, so the push
+    // fades within a couple of milliseconds, knocking the body modes on its way
+    const knock = new Float32Array(Math.min(y.length, Math.floor(sr * 0.02) + ring));
+    const kd = Math.exp((-2 * Math.PI * 90) / sr);
+    for (let i = 0; i < knock.length; i++, held *= kd)
+        knock[i] = -held;
+    throughBody(sr, body, knock);
+    for (let i = 0; i < knock.length; i++)
+        y[i] += knock[i];
+    // Remove DC and soften the highest frequencies
+    const hp = new Biquad(sr, 'hp', 40);
+    const lpf = new Biquad(sr, 'lp', 12000);
+    for (let i = 0; i < y.length; i++)
+        y[i] = lpf.run(hp.run(y[i]));
+    // Loudness is set by the energy of the first half second rather than the peak (which the sharp edge of the pluck decides), falling by tilt dB per octave
+    const w = Math.min(y.length, Math.floor(sr * 0.5));
+    let e = 0;
+    for (let i = 0; i < w; i++)
+        e += y[i] * y[i];
+    const k = (0.2 * Math.pow(10, ((o.tilt ?? 0) * Math.log2(f / 261.63)) / 20)) / (Math.sqrt(e / w) || 1);
+    for (let i = 0; i < y.length; i++)
+        y[i] *= k;
+    return tailFade(y, sr);
+}
+/**
+ * Additive-synthesis plucked string: each harmonic decays on its own (the higher, the faster), slightly inharmonic, plus body resonance and the finger's dull thump.
+ * In the bass range Karplus-Strong decays down to a pure sine (like a synthesizer); this model keeps the woody mid-range.
+ */
+export function pluckAdd(sr, f, o) {
+    const n = Math.floor(o.len * sr);
+    const y = new Float32Array(n);
+    const nyq = Math.min(sr * 0.42, 7000);
+    const B = 0.00012;
+    const r = rng(Math.round(f * 11));
+    for (let h = 1; h <= 40; h++) {
+        const fh = h * f * Math.sqrt(1 + B * h * h);
+        if (fh > nyq)
+            break;
+        const amp = (Math.abs(Math.sin(Math.PI * h * o.pos)) + 0.05) / Math.pow(h, o.tilt);
+        const t60 = o.t60 / (1 + 0.45 * (h - 1));
+        const k = Math.pow(10, -3 / (t60 * sr));
+        const w = (2 * Math.PI * fh) / sr;
+        let env = amp;
+        let ph = r() * 0.2;
+        for (let i = 0; i < n && env > 1e-6; i++) {
+            ph += w;
+            y[i] += Math.sin(ph) * env;
+            env *= k;
+        }
+    }
+    for (const hz of o.body) {
+        const w = (2 * Math.PI * hz) / sr;
+        const k = Math.pow(10, -3 / (0.22 * sr));
+        let env = 0.35;
+        for (let i = 0; i < n && env > 1e-6; i++) {
+            y[i] += Math.sin(w * i) * env;
+            env *= k;
+        }
+    }
+    const lp = new Biquad(sr, 'lp', 350, 0.7);
+    const kt = Math.pow(10, -3 / (0.05 * sr));
+    let env = o.thump;
+    for (let i = 0; i < n && env > 1e-6; i++) {
+        y[i] += lp.run(r()) * env * 3;
+        env *= kt;
+    }
+    const att = Math.floor(sr * 0.003);
+    for (let i = 0; i < att && i < n; i++)
+        y[i] *= i / att;
+    return tailFade(normalize(y), sr);
+}
+//# sourceMappingURL=pluck.js.map

package/dist/instruments/dsp/pluck.js.map

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package/dist/instruments/dsp/reverb.d.ts

@@ -0,0 +1,16 @@
+/** The acoustic space a song plays in */
+export interface Room {
+    /** Reverb time (seconds, decay by 60 dB) */
+    size: number;
+    /** 0 bright to 1 dark (how fast the highs decay; default 0.45) */
+    damp?: number;
+    /** Pre-delay (seconds; default 0.012) */
+    preDelay?: number;
+    /** Early reflection amount 0-1 (default 0.3) */
+    early?: number;
+    /** Attack time (seconds); above 0 it is a reverb that "grows in" (a reversed, ghostly feel) */
+    bloom?: number;
+}
+/** Generate a stereo impulse response: decaying noise, with the highs eaten away over time */
+export declare function impulse(sr: number, o: Room): [Float32Array, Float32Array];
+//# sourceMappingURL=reverb.d.ts.map

package/dist/instruments/dsp/reverb.d.ts.map

@@ -0,0 +1 @@
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