{"id":5259,"date":"2022-04-21T02:43:45","date_gmt":"2022-04-21T02:43:45","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=5259"},"modified":"2022-04-21T03:11:02","modified_gmt":"2022-04-21T03:11:02","slug":"patch-anatomy-steam-train","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2022\/04\/21\/patch-anatomy-steam-train\/","title":{"rendered":"Patch Anatomy: Steam Train"},"content":{"rendered":"
\n\"NicolasFournel\"\n<\/div>\n

In this new installment of our \u2018Patch Anatomy\u2019 series – in which we dissect advanced GameSynth patches – we examine the synthesis of a steam train, complete with engine, steam and whistle sounds. All aboard the choo-choo train!<\/p>\n

\"GameSynth\"
\n<\/a><\/p>\n

Engine<\/h2>\n

A Gear<\/strong> module is used to generate the repetitive, mechanical sound characteristic of an engine. Its amplitude is modulated by a LFO <\/strong>with a Saw Up shape<\/em> and a different frequency, creating small variations in the rhythm of the engine. Cross-Synthesis<\/strong> with a Thunder<\/strong> module makes it a real steam engine sound by combining the mechanical clanging with the release of the thunderclap.<\/p>\n

\"GameSynth\"
\n<\/a><\/p>\n

Whistle<\/h2>\n

The whistle uses the new Horn<\/strong> module (introduced in GameSynth 2022) for generator, which gives its slow pitch<\/em> and amplitude attack<\/em> to the sound. The characteristic timbre of the whistle is built by sending the output of the Horn<\/strong> through a Frequency Shifter<\/strong>. An additional Reverb<\/strong> gives more presence to the sound, almost like if the train was coming out of a tunnel.<\/p>\n

\"GameSynth\"
\n<\/a><\/p>\n

Steam<\/h2>\n

The sound of the steam is based on two eponymous modules. The first one goes through a Reverb<\/strong> that gives it a longer tail while the second one, slightly delayed by a Time Shifter<\/strong>, is equalized with an EQ 5 bands<\/strong> to have more presence in the low frequencies. Mixed together, the two Steam<\/strong> modules create a denser sound.<\/p>\n

\"GameSynth\"
\n<\/a><\/p>\n

Logic<\/h2>\n

Speed control is achieved via a Meta-parameter<\/strong>.\u00a0 Its range is constraint by a Mapper<\/strong> module, whose output drives the Speed<\/em> input of the Gear<\/strong> module, thus controlling the whole engine.<\/p>\n

When the speed is too low, the train stops and steam is released. To achieve this, the value of the meta-parameter is compared to a low threshold in the Crossings<\/strong> module. The Triggering mode<\/em> is set to \u2018Once, decreasing value<\/em>\u2019 so that the train will stop only once, and only if it is decelerating.<\/p>\n

The output of the Crossings<\/strong> module triggers the Steam<\/strong> modules, but also activates a Mute<\/strong> module placed after the engine section of the patch, effectively shutting down the engine.<\/p>\n

\"GameSynth\"
\n<\/a><\/p>\n

You can download the Stream Train patch below. The GameSynth patch repository includes several other train patches, check them out!<\/p>\n

\"download-patches\"<\/a><\/p>\n

\"GameSynth\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In this new installment of our \u2018Patch Anatomy\u2019 series – in which we dissect advanced GameSynth patches – we examine the synthesis of a<\/p>\n","protected":false},"author":1,"featured_media":5263,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[6,15,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/5259"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=5259"}],"version-history":[{"count":16,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/5259\/revisions"}],"predecessor-version":[{"id":5301,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/5259\/revisions\/5301"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/5263"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=5259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=5259"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=5259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}