polyphon 0.0.0-stage → 0.1.0

package/dist/instruments/bowed.js

@@ -0,0 +1,502 @@
+// Offline synthesis of bowed string instruments: the whole of "a group of players bowing one note" is computed in advance, so playback only plays a sample and uses almost no CPU at runtime.
+//
+// Comparing against the spectra of real string recordings, there are three reasons the synthesized strings sound like brass:
+//   1. Too clean: the overtones of real strings are smeared bands, with the scraping noise of the bow hair filling the space between partials; the synthesized ones are thin lines with pure black in between.
+//   2. The ensemble is too fake: every player has different intonation, vibrato speed and bowing position, so the high partials spread out; two oscillators vibrating in sync are just a chorus.
+//   3. The body is not messy enough: a wooden body has dozens of narrow, irregular resonances, and as the vibrato sweeps the partials across them their strength keeps flickering.
+// So here every player is computed separately: a fixed intonation offset, slowly drifting intonation, their own vibrato, their own bowing point (the comb notches fall at different positions),
+// and bow noise that appears in sync with each slip of the bow on the string; all of that is summed and then passed through a body of a hundred-odd modes.
+// Measured against the University of Iowa violin, cello and double bass recordings (sustained notes on every string), three things were still off:
+//   - the body's actual response did not follow its envelope: below the air resonance and above the bridge hill the modes' skirts piled up, so the
+//     open G of a violin had a fundamental as strong as its second partial (real: ~20 dB weaker) and the double bass was 10-20 dB too bright; and
+//     above 1 kHz the modes were too few and too broad for the vibrato to make the partials flicker (2-3 dB, real violins 5-15 dB) (bodyModes);
+//   - a corner fixed in hertz left the low strings as bright as the high ones (bowTable);
+//   - between the partials the noise floor was 6-14 dB cleaner than the recordings (bow noise raised, and rounded off with the tone).
+// Measured again on the cello's A string (A3 up), where the solo cello sounded like a synthesizer: one bowing for every string left it dull
+// and hissy there; the top string now has its own bowing point, corner and noise (TopString, CELLO_A).
+//
+// The sample has two parts: the attack (the bow grips the string, the vibrato comes in and grows) and a sustain section that can loop seamlessly.
+// All the modulation in the sustain section (vibrato, intonation drift, bow-pressure swell, bow noise) has the loop length as its period,
+// and each player's frequency is also fine-tuned so that it covers a whole number of periods within the loop length, so there is no seam at the loop point.
+//
+// Pitch-tracked on held notes, the vibrato was there but easy to miss: it began 0.3 s into a note and reached full depth only at 0.5 s, so eighth
+// notes had none and quarter notes were half straight; it was a little narrow (violin ±20 cents, cello ±15, each double bass ±8) and every cycle
+// was the same; and rounding its speed to whole cycles in a 1.5 s loop put a violin at 5.3 or 6.0 Hz depending on the note, and a section's seven
+// players on just two speeds. Now it starts 0.1 s after the bow (audible from about 0.2 s), is most of the way in two cycles later and keeps
+// deepening a little until 0.8 s, so a held note blooms; a solo's loop is cut to fit its vibrato and a section's is long enough for its players
+// to spread over three speeds; and speed and depth wander a little from cycle to cycle, as a hand's do.
+import { rng } from './dsp/core.js';
+/** Attack section length (seconds): the attack and the vibrato's growth must both finish before it ends, and the body's resonances must have settled */
+const PRE = 0.8;
+/** The vibrato grows in over this long after it begins (about two cycles), to 85% of its depth; the rest it gains slowly up to the end of the attack section, so a held note blooms */
+const VIB_GROW = 0.3;
+const TABLE = 2048;
+/** Samples after the loop's end that repeat its start */
+const GUARD = 64;
+/** Modulation (frequency, volume) is computed once every few samples, with linear interpolation in between */
+const CR = 16;
+/** Polyline envelope (linear interpolation on a log frequency axis), returns dB */
+function envAt(env, f) {
+    if (f <= env[0][0])
+        return env[0][1];
+    for (let i = 1; i < env.length; i++) {
+        if (f <= env[i][0]) {
+            const [f0, d0] = env[i - 1];
+            const [f1, d1] = env[i];
+            return d0 + ((d1 - d0) * Math.log(f / f0)) / Math.log(f1 / f0);
+        }
+    }
+    return env[env.length - 1][1];
+}
+/**
+ * One period of the bowed string: a sawtooth with the partials at integer multiples of the bowing point cut out, then rounded off; partials are only added up to maxF.
+ * The rounding of the Helmholtz corner (Cremer): every period the string's internal losses (a roughly constant loss factor in the gut or
+ * synthetic core and the windings, so partial k loses in proportion to k per period) smooth the corner, and every pass under the bow sharpens it again,
+ * the more so the harder the bow presses. In balance partial k is cut by 1 / (1 + (k / kc)²): the cut sits at a partial number, not a frequency,
+ * so low notes are darker at the same frequency: in the recordings a note on the lowest string has 7 dB (violin) and 16 dB (cello) less of its
+ * energy at 4-8 kHz than one on the highest; a corner fixed in hertz gave 2 and 5 dB.
+ */
+function bowTable(f, beta, kc, maxF) {
+    const t = new Float32Array(TABLE);
+    const K = Math.max(1, Math.min(400, Math.floor(maxF / f)));
+    for (let k = 1; k <= K; k++) {
+        const a = (0.1 + Math.abs(Math.sin(Math.PI * k * beta))) / k / (1 + (k / kc) ** 2);
+        // Compute sin(2πkn/N) with a rotation recurrence, much faster than calling Math.sin at every point
+        const th = (2 * Math.PI * k) / TABLE;
+        const c = Math.cos(th);
+        const s = Math.sin(th);
+        let x = 0;
+        let y = 1;
+        for (let n = 0; n < TABLE; n++) {
+            t[n] += a * x;
+            const nx = x * c + y * s;
+            y = y * c - x * s;
+            x = nx;
+        }
+    }
+    let mx = 0;
+    for (let n = 0; n < TABLE; n++)
+        mx = Math.max(mx, Math.abs(t[n]));
+    for (let n = 0; n < TABLE; n++)
+        t[n] /= mx;
+    return t;
+}
+/** Modes per octave stop growing here: neighbouring modes already overlap */
+const MAX_DENSITY = 30;
+/**
+ * Scatter modes according to the envelope (band-pass); each seed is a different instrument.
+ * - A plate has roughly a constant number of modes per hertz, so per octave the count grows with frequency: a few isolated modes in the
+ *   low register (A0, B1-, B1+), a thicket above 1-2 kHz. There a ±20-cent vibrato sweeps each partial across peaks and dips and its level
+ *   flickers by 5-10 dB, as measured on real violins; with a sparse, broad body the partials sound static.
+ * - Each mode reaches the listener with its own sign (radiation is a transfer function, not the bridge's driving-point admittance), so far
+ *   from their peaks the skirts cancel instead of piling up: the response falls away below the lowest mode, where the air in the f-holes and
+ *   the plates' volume change are in antiphase (an open G on a violin, 196 Hz below A0, radiates its fundamental ~20 dB under the second
+ *   partial), and above the bridge hill.
+ * - A mode's peak is scaled so its power, spread over the gap to the next mode, matches the envelope: the envelope is the average response.
+ */
+function bodyModes(sr, b) {
+    const r = rng(b.seed);
+    const out = [];
+    const l0 = Math.log2(b.lo);
+    const oct = Math.log2(b.hi) - l0;
+    const top = Math.log2(Math.min(b.hi, sr * 0.45));
+    for (let x = l0;;) {
+        const n = Math.min(MAX_DENSITY, b.density * Math.pow(2, (x - l0) * 0.6));
+        x += (1 + 0.8 * r()) / n;
+        if (x >= top)
+            break;
+        const f = Math.pow(2, x);
+        const q = b.q[0] + ((b.q[1] - b.q[0]) * (x - l0)) / oct;
+        const db = envAt(b.env, f) + r() * b.rand;
+        const g = (r() < 0 ? -1 : 1) * Math.pow(10, db / 20) * Math.sqrt((2 * q * Math.LN2) / (Math.PI * n));
+        const w = (2 * Math.PI * f) / sr;
+        const al = Math.sin(w) / (2 * q);
+        const a0 = 1 + al;
+        out.push({ b: (g * al) / a0, a1: (-2 * Math.cos(w)) / a0, a2: (1 - al) / a0 });
+    }
+    return out;
+}
+/** Smooth 0 -> 1 */
+const smooth = (x) => (x <= 0 ? 0 : x >= 1 ? 1 : x * x * (3 - 2 * x));
+/** The first desk plays the samples as they always were; a fourth track on an instrument sits at the first desk again, and so on round */
+export const DESKS = [
+    { cents: 0, rate: 1, depth: 1, phase: 0, attack: 1, lag: 0 },
+    { cents: 3, rate: 0.94, depth: 1.1, phase: 0.35, attack: 1.2, lag: 0.008 },
+    { cents: -3, rate: 1.06, depth: 0.9, phase: 0.65, attack: 0.85, lag: 0.012 },
+];
+/**
+ * Draw one player in the order the samples have always drawn them, so the first desk renders exactly as before.
+ * `rate` is the vibrato speed the player varies around (a solo's is already this note's).
+ */
+function drawPlayer(r, d, solo, rate, loud, LS, sr) {
+    const L = LS / sr;
+    const beta = d.beta[0] + (d.beta[1] - d.beta[0]) * (solo ? 0.5 : (r() + 1) / 2);
+    // Vibrato: every player has a different speed, depth, phase and onset; the speed is a whole number of cycles within the loop length
+    const vr = Math.max(1, Math.round((solo ? rate : rate * (1 + r() * 0.09)) * L)) / L;
+    const vd = d.vibDepth * (loud ? 1 : 0.9) * (solo ? 1 + r() * 0.08 : 0.9 + r() * 0.3);
+    const vph = (r() + 1) * Math.PI;
+    const von = d.vibDelay * (solo ? 1 : 0.7 + 0.6 * Math.abs(r()));
+    // No two cycles alike: the speed wanders by a few percent and the depth by about a tenth, along four slow sinusoids whose period is the loop length.
+    // Each is [Hz, phase swing, depth swing, the two phases]; a phase swing of a·sin(2π·hz·t) moves the speed by up to a·hz / vr of itself (here 5%)
+    const wob = [1, 2, 3, 4].map((k) => [k / L, (0.05 * r() * vr) / (k / L), 0.12 * r(), (r() + 1) * Math.PI, (r() + 1) * Math.PI]);
+    // Intonation drift: three slow sinusoids whose period is the loop length
+    const dr = [1, 2, 3].map((k) => [k / L, d.drift * r() * 0.6, (r() + 1) * Math.PI]);
+    // Bow-pressure swell: a very slow volume change (±5%)
+    const bw = [(1 + Math.round((r() + 1) * 1.5)) / L, (r() + 1) * Math.PI];
+    const det = solo ? 0 : d.spread * r() * 1.2;
+    const on = solo ? 0 : ((r() + 1) / 2) * d.onset;
+    const scoop = d.scoop * (0.6 + 0.4 * Math.abs(r()));
+    const nOff = Math.floor(((r() + 1) / 2) * LS);
+    const nAmt = d.noise * (loud ? 1.35 : 1) * (solo ? 1 : 0.8 + 0.4 * Math.abs(r()));
+    const ph = (r() + 1) / 2;
+    return { beta, vr, vd, vph, von, wob, dr, bw, det, on, scoop, nOff, nAmt, ph };
+}
+/** A player's pitch (cents from the note) at time t, with the vibrato grown in to v (0-1) */
+function centsOf(p) {
+    const { vr, vd, vph, wob, dr } = p;
+    return (t, v) => {
+        let ph = 2 * Math.PI * vr * t + vph;
+        let g = 1;
+        for (const [hz, a, b, p1, p2] of wob) {
+            ph += a * Math.sin(2 * Math.PI * hz * t + p1);
+            g += b * Math.sin(2 * Math.PI * hz * t + p2);
+        }
+        let c = vd * v * g * (Math.sin(ph) + 0.12 * Math.sin(2 * ph));
+        for (const [hz, a, p2] of dr)
+            c += a * Math.sin(2 * Math.PI * hz * t + p2);
+        return c;
+    };
+}
+/** The mean frequency ratio over the sustain section (the vibrato and drift, at full depth) */
+function meanRatio(cents, L) {
+    let m = 0;
+    const S = 2048;
+    for (let i = 0; i < S; i++)
+        m += Math.pow(2, cents(PRE + (i / S) * L, 1) / 1200);
+    return m / S;
+}
+/** Samples in a loop of this many seconds: the attack section and the loop section are both integer multiples of CR, so the modulation's sample grid lines up at the loop's head and tail */
+const loopSamples = (sr, seconds) => Math.round((seconds * sr) / CR) * CR;
+/** A solo's vibrato speed for this note (a lighter bow goes with a slightly slower and narrower vibrato, and it varies a little from note to note); the first draw of its seed */
+const soloRate = (r, d, loud) => d.vibRate * (loud ? 1 : 0.96) * (1 + 0.04 * r());
+/** A solo's loop: a whole number of its vibrato cycles */
+const soloLoop = (sr, d, rate, cycles = Math.round(rate * d.loop)) => loopSamples(sr, Math.max(1, cycles) / rate);
+/** The first desk's solo for a note, replayed without rendering: the mean frequency of its sustain (Hz) and its vibrato phase */
+function firstDesk(sr, f, d, loud, seed) {
+    const r = rng(seed * 7919 + Math.round(f * 13));
+    const rate = soloRate(r, d, loud);
+    const LS = soloLoop(sr, d, rate);
+    // The bow noise takes the next LS draws
+    for (let i = 0; i < LS; i++)
+        r();
+    const p = drawPlayer(r, d, true, rate, loud, LS, sr);
+    const L = LS / sr;
+    // Its frequency is fitted to a whole number of periods in the loop (see below), so its mean is that number over the loop length
+    return { mean: Math.round(f * meanRatio(centsOf(p), L) * L) / L, vph: p.vph, rate };
+}
+/**
+ * A note from the top string's open pitch up is played on it (a quarter tone of slack, so its open note's sample counts): its bowing. A
+ * section's players keep their spread of bowing points around the top string's
+ */
+function topString(d, f) {
+    const s = d.top;
+    if (!s || f < s.open * 0.97)
+        return d;
+    const mid = (d.beta[0] + d.beta[1]) / 2;
+    const beta = (b) => s.beta * (b / mid) * (f / s.open);
+    return { ...d, beta: [beta(d.beta[0]), beta(d.beta[1])], corner: [d.corner[0] * s.corner, d.corner[1] * s.corner], noise: d.noise * s.noise };
+}
+/**
+ * Compute one bowed-string sample. f is the pitch (Hz), loud decides bow pressure (brightness, bow noise, attack), and seed makes the players different for every note.
+ * desk picks the players (see DESKS): 0 is the first desk.
+ * The returned sample can loop seamlessly across the loop interval.
+ */
+export function bowSample(sr, f, d, loud, seed, desk = 0) {
+    d = topString(d, f);
+    const dk = DESKS[desk % DESKS.length];
+    let r = rng(seed * 7919 + Math.round(f * 13));
+    const P = d.players;
+    const solo = P === 1;
+    // Vibrato speed: a solo varies a little from note to note and its loop is cut to a whole number of its cycles; in a section each player has
+    // their own speed, rounded to whole cycles in the loop
+    const rate = soloRate(r, d, loud);
+    /** The players' draws: the first desk takes them from the same stream as everything else, another desk from its own */
+    let rp = r;
+    let LS = solo ? soloLoop(sr, d, rate) : loopSamples(sr, d.loop);
+    /** A section desk after the first: how far its players lean from the first desk's (cents) */
+    let deskCents = 0;
+    /** A solo desk after the first: its vibrato phase and the mean frequency of its sustain (Hz) */
+    let deskSolo;
+    if (dk !== DESKS[0]) {
+        const ds = seed * 7919 + Math.round(f * 13) + desk * 104729;
+        r = rng(ds);
+        rp = rng(ds + 1);
+        const cents = dk.cents + 2 * r();
+        if (!solo)
+            deskCents = cents;
+        else {
+            // Its own vibrato, starting away from the first desk's. The loop holds whole vibrato cycles and whole periods of the string, and a
+            // period is long for a low note (an A3 in a 2 s loop moves 4 cents a period, a cello's C2 13): of loops a few cycles shorter or
+            // longer, take the one whose whole number of periods lands closest to the intended pitch
+            const first = firstDesk(sr, f, d, loud, seed);
+            const own = first.rate * dk.rate;
+            const goal = first.mean * Math.pow(2, cents / 1200);
+            let best = Infinity;
+            const base = Math.round(own * d.loop);
+            for (let c = Math.max(1, base - 3); c <= base + 3; c++) {
+                const ls = soloLoop(sr, d, own, c);
+                const L = ls / sr;
+                const miss = Math.abs(Math.round(goal * L) / L / goal - 1) + Math.abs(c - base) * 1e-5;
+                if (miss < best) {
+                    best = miss;
+                    LS = ls;
+                }
+            }
+            deskSolo = { vph: first.vph + 2 * Math.PI * dk.phase, mean: Math.round(goal * (LS / sr)) / (LS / sr) };
+        }
+    }
+    const L = LS / sr;
+    const A = Math.round((PRE * sr) / CR) * CR;
+    const N = A + LS;
+    const sum = new Float32Array(N);
+    const corner = loud ? d.corner[1] : d.corner[0];
+    const atk = (loud ? d.attack[1] : d.attack[0]) * dk.attack;
+    const maxF = sr * 0.4;
+    // All players share one stretch of bow noise whose period is the loop length (each reads from a different position): high-pass then low-pass, running two passes so the filter state joins up head to tail.
+    // The noise rides on the slip, so the string rounds it off like the tone: two low-pass poles at the corner (kc partials, 2-6 kHz).
+    // Left flat to 6 kHz, the hiss was all a low cello note had above 4 kHz (12 dB more than a real C string); some hiss comes from the hair itself, so not below 2 kHz.
+    const nz = new Float32Array(LS);
+    {
+        const raw = new Float32Array(LS);
+        for (let i = 0; i < LS; i++)
+            raw[i] = r();
+        let lp = 0;
+        let lp2 = 0;
+        let hp = 0;
+        const al = 1 - Math.exp((-2 * Math.PI * Math.min(6000, Math.max(2000, corner * f))) / sr);
+        const ah = 1 - Math.exp((-2 * Math.PI * 700) / sr);
+        for (let pass = 0; pass < 2; pass++) {
+            for (let i = 0; i < LS; i++) {
+                lp += al * (raw[i] - lp);
+                lp2 += al * (lp - lp2);
+                hp += ah * (lp2 - hp);
+                if (pass)
+                    nz[i] = lp2 - hp;
+            }
+        }
+    }
+    const tables = new Map();
+    const T = (beta) => {
+        const k = Math.round(beta * 200);
+        let t = tables.get(k);
+        if (!t)
+            tables.set(k, (t = bowTable(f, k / 200, corner, maxF)));
+        return t;
+    };
+    /** The speed each player's vibrato varies around: a solo's is this note's */
+    const vibRate = (solo ? rate : d.vibRate * (loud ? 1 : 0.96)) * dk.rate;
+    for (let p = 0; p < P; p++) {
+        const pl = drawPlayer(rp, d, solo, vibRate, loud, LS, sr);
+        if (deskSolo)
+            pl.vph = deskSolo.vph;
+        pl.vd *= dk.depth;
+        const { beta, von, bw, on, scoop, nOff, nAmt } = pl;
+        const tab = T(beta);
+        const cents = centsOf(pl);
+        // Frequency fine-tuning: the sustain section's mean frequency times the loop length must come out to exactly a whole number of periods
+        // (a solo desk after the first has picked its loop for that: its mean frequency is already a whole number of periods)
+        const m = meanRatio(cents, L);
+        const target = f * Math.pow(2, (pl.det + deskCents) / 1200);
+        const F = deskSolo ? deskSolo.mean / m : Math.max(1, Math.round(target * m * L)) / (m * L);
+        const slip = beta;
+        const amp = solo ? 1 : 1 / Math.sqrt(P);
+        // Control rate: once every CR samples compute the frequency (the phase increment per sample) and the volume
+        const nc = N / CR + 2;
+        const inc = new Float64Array(nc);
+        const env = new Float64Array(nc);
+        for (let c = 0; c < nc; c++) {
+            const t = (c * CR) / sr;
+            const ta = t - on;
+            if (ta < 0)
+                continue;
+            const v = 0.75 * smooth((t - von) / VIB_GROW) + 0.25 * smooth((t - von) / (PRE - von));
+            const sc = -scoop * Math.exp(-ta / 0.045);
+            inc[c] = (F * Math.pow(2, (cents(t, v) + sc) / 1200)) / sr;
+            // Attack: the bow grips the string (a hard bow overshoots a little and then comes back); after that comes a very slow bow-pressure swell
+            let e = smooth(ta / atk);
+            if (loud)
+                e *= 1 + 0.22 * e * Math.exp(-Math.max(0, ta - atk) / 0.08);
+            env[c] = amp * e * (1 + 0.05 * Math.sin(2 * Math.PI * bw[0] * t + bw[1]));
+        }
+        let ph = pl.ph;
+        const i0 = Math.floor((on * sr) / CR) * CR;
+        for (let i = i0; i < N; i++) {
+            const c = (i / CR) | 0;
+            const u = (i - c * CR) / CR;
+            ph += inc[c] + (inc[c + 1] - inc[c]) * u;
+            if (ph >= 1)
+                ph -= 1;
+            const x = ph * TABLE;
+            const j = x | 0;
+            const fr = x - j;
+            const s0 = tab[j];
+            const tone = s0 + (tab[(j + 1) & (TABLE - 1)] - s0) * fr;
+            // Bow noise appears along with the slip of the bow on the string (the short stretch at the start of each period)
+            const nzv = nz[(i + nOff) % LS] * (ph < slip ? 1 : 0.3) * nAmt;
+            sum[i] += (env[c] + (env[c + 1] - env[c]) * u) * (tone + nzv);
+        }
+    }
+    // The highs come in a little later on the attack: a one-pole low-pass from dark to fully open (the sustain section passes straight through)
+    {
+        let y = 0;
+        const end = Math.floor((atk * 1.6 + 0.05) * sr);
+        for (let i = 0; i < N; i++) {
+            if (i >= end) {
+                y = sum[i];
+                continue;
+            }
+            const u = smooth(i / end);
+            const fc = f * 3 + (sr * 0.45 - f * 3) * u * u;
+            const a = 1 - Math.exp((-2 * Math.PI * fc) / sr);
+            y += a * (sum[i] - y);
+            sum[i] = y;
+        }
+    }
+    // The attack's scrape (non-periodic, finishing within the attack section)
+    if (d.scrape > 0) {
+        const sc = d.scrape * (loud ? 1.4 : 0.7);
+        let lp = 0;
+        let hp = 0;
+        const al = 1 - Math.exp((-2 * Math.PI * 5000) / sr);
+        const ah = 1 - Math.exp((-2 * Math.PI * 900) / sr);
+        const len = Math.min(A - 1, Math.floor((atk + 0.12) * sr));
+        for (let i = 0; i < len; i++) {
+            const t = i / sr;
+            lp += al * (r() - lp);
+            hp += ah * (lp - hp);
+            sum[i] += (lp - hp) * sc * smooth(t / 0.006) * Math.exp(-t / (atk * 0.6 + 0.03));
+        }
+    }
+    // Body: a bank of narrow modes in parallel. They all take the same input difference x[n] - x[n-2], and run two at a time
+    const modes = bodyModes(sr, d.body);
+    const dx = new Float32Array(N);
+    for (let i = 0; i < N; i++)
+        dx[i] = sum[i] - (i >= 2 ? sum[i - 2] : 0);
+    const out = new Float32Array(N);
+    const none = { b: 0, a1: 0, a2: 0 };
+    for (let m = 0; m < modes.length; m += 2) {
+        const { b: pb, a1: pa1, a2: pa2 } = modes[m];
+        const { b: qb, a1: qa1, a2: qa2 } = modes[m + 1] ?? none;
+        let p1 = 0;
+        let p2 = 0;
+        let q1 = 0;
+        let q2 = 0;
+        for (let i = 0; i < N; i++) {
+            const x = dx[i];
+            const p = pb * x - pa1 * p1 - pa2 * p2;
+            const q = qb * x - qa1 * q1 - qa2 * q2;
+            p2 = p1;
+            p1 = p;
+            q2 = q1;
+            q1 = q;
+            out[i] += p + q;
+        }
+    }
+    // Loop seam: the lowest body modes ring for a few hundred milliseconds, so at the loop start they still carry a trace of the attack (up to -31 dB
+    // for a low bass note). Crossfade the last 60 ms of the loop into the 60 ms that lead into it, so the jump back to the loop start is seamless.
+    {
+        const X = Math.min(Math.round(sr * 0.06), A);
+        for (let j = 0; j < X; j++) {
+            const w = (j + 0.5) / X;
+            out[N - X + j] += w * (out[A - X + j] - out[N - X + j]);
+        }
+    }
+    // Set the volume by the sustain section's RMS (every pitch equally loud, the soft and hard layers equally loud too; loudness is left to velocity)
+    let e2 = 0;
+    for (let i = A; i < N; i++)
+        e2 += out[i] * out[i];
+    const k = 0.2 / Math.sqrt(e2 / LS + 1e-12);
+    for (let i = 0; i < N; i++)
+        out[i] *= k;
+    // The buffer runs on past the loop's end with a copy of the loop's start. Chrome's looping source does not interpolate across the jump back
+    // when the loop ends at the very end of the buffer (a test sine clicked on every pass unless its loop began at a zero crossing), and low notes
+    // ticked once a loop; now the samples either side of the loop's end are the ones the loop plays.
+    const data = new Float32Array(N + GUARD);
+    data.set(out);
+    data.set(out.subarray(A, A + GUARD), N);
+    return { data, loop: [A, N] };
+}
+// Body envelope: [Hz, dB], the average radiated response. Fitted, with the bow corner, to the sustained mf notes of the University of Iowa
+// violin, cello and double bass recordings (1/3-octave partial levels across every string). The violin: air resonance A0 at 280 Hz, the corpus
+// modes B1- and B1+ at 450-550 Hz, a dip around 700 Hz, the bridge hill at 2-4 kHz and a steep fall above 4-5 kHz. The cello sits an octave
+// and a half lower; the double bass radiates mostly 50-200 Hz and is dark above. Bodies without recordings keep the shape the old model actually produced.
+const VIOLIN_BODY = { seed: 11, lo: 200, hi: 9000, density: 9, q: [36, 70], rand: 7, env: [[200, -12], [280, -1], [480, 2], [560, 0], [720, -5], [1000, -1], [1400, -2], [1900, 3], [2400, 0], [3000, 5], [3800, 8], [5000, -1], [7000, -9], [9000, -16]] };
+/** String section: the averaged body of violins and violas, flatter */
+const SECTION_BODY = { seed: 41, lo: 160, hi: 8000, density: 6, q: [28, 36], rand: 5, env: [[150, -14], [240, 0], [350, 0], [500, 3], [700, -4], [1000, -2], [1400, 1], [2000, 3], [2600, 4], [3500, 0], [5000, -4], [8000, -16]] };
+const CELLO_BODY = { seed: 23, lo: 80, hi: 9000, density: 9, q: [34, 70], rand: 7, env: [[70, -19], [100, -4], [150, 1], [220, -3], [350, 2], [500, 0], [700, -4], [1000, -1], [1800, 7], [2500, 7], [4000, -7], [6000, -7], [9000, -16]] };
+const BASS_BODY = { seed: 31, lo: 36, hi: 6000, density: 7, q: [26, 48], rand: 5, env: [[36, -12], [45, -11], [60, -2], [100, 5], [150, 6], [200, -3], [300, -4], [500, -10], [1000, -11], [1600, -6], [2500, -9], [4000, -9], [6000, -11]] };
+const FIDDLE_BODY = { seed: 53, lo: 220, hi: 10000, density: 9, q: [36, 70], rand: 7, env: [[220, -12], [300, 3], [520, 4], [800, 0], [1100, -1], [1500, -2], [2200, 1], [3000, 4], [4000, 5], [6000, -3], [10000, -16]] };
+/** Morin khuur (horsehead fiddle): a skin-covered square body, a 900 Hz nasal tone, few highs */
+const MORIN_BODY = { seed: 67, lo: 150, hi: 7000, density: 7, q: [26, 40], rand: 6, env: [[150, -12], [240, 1], [400, -2], [900, 6], [1300, 0], [1700, -3], [2400, 0], [3500, -5], [5000, -9], [7000, -16]] };
+/**
+ * The cello's A string, fitted to the Iowa A-string notes A3-F#4 (arco mf and ff). Bowed like the lower strings (a comb notch every 8.3
+ * partials, the corner at 16, the same bow noise), the solo cello from A3 up had 5 dB too much of its energy in the fundamental and 8 dB too
+ * little at 2-4 kHz (spectral centroid 910 Hz, the recordings 1390), and 10-20 dB more hiss between its partials (at 1-2 kHz 29 dB under them,
+ * the recordings 43): a dull tone with a layer of hiss over it, like a synthesizer's strings; the low register measures close to the C and
+ * G strings. Bowed 3.5 cm from the bridge (5% of the open string) the comb's first notch sits near 4.4 kHz on every note of the string, so
+ * the partials run strong up to the bridge hill and fall past it, as in the recordings; the steel string loses less per period than the
+ * wound ones (a corner twice as high) and bows cleaner (a third of the noise). Now: centroid 1420 Hz, 2-4 kHz at -8 dB of the total
+ * (recordings -7), and the noise between partials 43, 35 and 26 dB under them at 1-2, 2-4 and 4-8 kHz (recordings 43, 35, 27)
+ */
+const CELLO_A = { open: 220, beta: 0.05, corner: 2, noise: 0.3 };
+const section = (body, players) => ({
+    players,
+    spread: 9,
+    drift: 6,
+    vibRate: 5.8,
+    vibDepth: 22,
+    vibDelay: 0.12,
+    beta: [0.07, 0.16],
+    corner: [7, 14],
+    noise: 0.1,
+    scrape: 0.6,
+    attack: [0.12, 0.06],
+    onset: 0.04,
+    scoop: 12,
+    body,
+    loop: 2,
+});
+const solo = (body, vibRate, vibDepth, beta, corner, noise) => ({
+    players: 1,
+    spread: 0,
+    drift: 3,
+    vibRate,
+    vibDepth,
+    vibDelay: 0.1,
+    beta: [beta, beta],
+    corner,
+    noise,
+    scrape: 0.5,
+    attack: [0.08, 0.045],
+    onset: 0,
+    scoop: 14,
+    body,
+    loop: 2,
+});
+export const BOWS = {
+    /** String section: seven players */
+    strings: { def: section(SECTION_BODY, 7), zone: 3, rate: 0.75, attack: 0.02, release: 0.4, loudAt: 0.72, glide: 0.09, level: 0.89 },
+    /** The slow version of the string section (soft, long): the same samples */
+    strPad: { def: section(SECTION_BODY, 7), zone: 3, rate: 0.75, attack: 0.6, release: 0.9, loudAt: 2, glide: 0.09, level: 0.81, share: 'strings' },
+    violin: { def: solo(VIOLIN_BODY, 6.2, 27, 0.113, [8, 16], 0.1), zone: 3, rate: 0.75, attack: 0.02, release: 0.25, loudAt: 0.72, glide: 0.09, level: 0.57 },
+    cello: { def: { ...solo(CELLO_BODY, 5.6, 24, 0.12, [8, 16], 0.2), top: CELLO_A }, zone: 3, rate: 0.5, attack: 0.02, release: 0.3, loudAt: 0.72, glide: 0.09, level: 0.66 },
+    /** Folk fiddle: brighter, with a faster, narrower vibrato that comes in later */
+    fiddle: { def: { ...solo(FIDDLE_BODY, 6.2, 12, 0.09, [11, 22], 0.12), vibDelay: 0.18 }, zone: 3, rate: 0.75, attack: 0.015, release: 0.2, loudAt: 0.72, glide: 0.07, level: 0.6 },
+    /** Morin khuur: horsehair bow, lots of breath noise, wide slow vibrato that comes in later */
+    morin: { def: { ...solo(MORIN_BODY, 4.4, 26, 0.15, [6, 11], 0.14), vibDelay: 0.18 }, zone: 3, rate: 0.75, attack: 0.03, release: 0.3, loudAt: 0.72, glide: 0.14, level: 0.81 },
+    /** Cello section: five players, for sustained notes and harmony in the low-mid register (use cello for solos) */
+    celli: { def: { ...section(CELLO_BODY, 5), vibRate: 5.5, vibDepth: 20, corner: [7, 14], noise: 0.15, top: CELLO_A }, zone: 3, rate: 0.5, attack: 0.03, release: 0.4, loudAt: 0.72, glide: 0.1, level: 0.66 },
+    /** Double bass section: three players, with a slower vibrato */
+    contrabass: { def: { ...section(BASS_BODY, 3), vibRate: 5, vibDepth: 14, corner: [8, 16], spread: 4 }, zone: 3, rate: 0.5, attack: 0.03, release: 0.35, loudAt: 0.72, glide: 0.1, level: 0.61 },
+};
+//# sourceMappingURL=bowed.js.map

package/dist/instruments/bowed.js.map

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