-- region Lesson 1: starting with effects

-- Tidal has lots of effects we can use to change the way things sound.

-- vowel is a filter which adds a vowel sound
-- try a, e, i, o and u

d1 $ n "0 1 0 [2 4] 2 4 1*2 3" # s "cpu"

d1 $ n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu" # vowel "a"

d1 $ n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu" # vowel "o"

-- We can use the mini notation to create sequences of effects too:

d1 $ n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu" # vowel "a o e"

-- Tidal does its best to map patterns across to one another.

-- You can add a non-vowel letter to pause the vowel effect

d1 $ n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu" # vowel "a p"

-- 'squiz' is a nice distortion effect
d1 $ n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu" # squiz "4 1 0 3"

-- With '#' structure comes from the left - try swapping the parameters around

d1 $ squiz "4 1 0 3" # n "0 1 0 [2 4] 2 ~ 1*2 3" # s "cpu"

-- Now there are only four sounds per cycle, because there's four in the leftmost
-- 'squiz' pattern

-- We'll learn more about how things in patterns get matched up later!

-- 'gain' changes the volume of different sounds

d1 $ sound "kick kick snare snare" # gain "1 0.7 0.6 0.5"

d1 $ sound "[hh*16, kick:8 snare:4 [~ kick:8] snare]" # gain "[1 1.2]*8"

-- speed can be used to pitch samples
-- (we can also use 'note' to do this, but we'll look at that later)

-- speed changes the speed of playback,
-- e.g. 2 = play the sample twice as fast - which moves the note up an octave

d1 $ sound "numbers:1 numbers:2 numbers:3 numbers:4" # speed "1 1.5 2 0.5"

-- Or we can take the pattern from the speed parameter

d1 $ speed "1*2 2*2 4*6" # sound "jungbass:6"

-- pan allows us to create stereo effects - 0 = left, 0.5 = middle, 1 = right

d1 $ sound "numbers:1 numbers:2 numbers:3 numbers:4" # pan "0 0.5 1"

-- shape adds distortion (but be careful - it also makes the sound much louder)

d1 $ sound "kurt:4 kurt:4"

d1 $ sound "kurt:4(3,8)" # shape "0 0.98" # gain "0.7"

-- endregion

-- region Lesson 2 : Time to look at Time

-- "Music is the Time of Numbers"

-- setcps - change global tempo

-- Let's run two patterns at once:
d1 $ n "0 2 [3 5] [4 7]" # sound "cpu"

d2 $ n "0(3,8) 8*8" # sound "cpu2"
  # squiz 5

-- Changing the cps (cycles per second) changes everything
setcps 0.7

setcps 0.3

-- Time as an effexct (!)

-- You can also set cps as an effect:
d2 $ n "0(3,8) 8*8" # sound "cpu2"
  # squiz 5
  # cps 0.5

-- It's still global though - setting it on one pattern will
-- change it everywhere

-- However, you can pattern it:
d2 $ n "0(3,8) 8*8" # sound "cpu2"
  # squiz 5
  # cps "0.5 1"

-- You can really mess with time in this way!
d2 $ n "0 [~ 1] 2*2 3 4*3 5 ~ 7" # sound "cpu2"
    # cps "<0.5 2> [1 0.75] <2 1>"

-- Reset things before moving on..
hush

setcps 0.6

-- 'fast' and 'slow' functions

-- You can speed up / slow down an individual
-- pattern (or part of one) with "fast" and "slow"


d1 $ slow 2 $ n "0 2 [3 5] [4 7]" # sound "cpu"

d1 $ fast 2 $ n "0 2 [3 5] [4 7]" # sound "cpu"

-- You can also pattern this speed factor:
d1 $ slow "0.5 1" $ n "0 2 [3 5] [4 7]" # sound "cpu"

d1 $ slow "0.5 <1 2>" $ n "0 2 [3 5] [4 7]" # sound "cpu"

-- When patterning time in this way, you're switching
-- between different versions of the pattern, running
-- at different speeds.

-- We've already learned enough to create patterns with a
-- lot of variety in them, by mixing together several simple
-- manipulations
d1 $ slow "0.5 <1 2>" $
  n "{0 2 [3 5] [4 <7 6>], 0*2 3*3 0}" # sound "cpu"
  # squiz "<8 1 2>"

-- Note that the 'speed' effect changes the rate of playback
-- for each sample, but doesn't change the overall speed of the
-- pattern
d1 $ slow "0.5 <1 2>" $
    n "{0 2 [3 5] [4 <7 6>], 0*2 3*3 0}" # sound "cpu"
    # squiz "<8 1 2>"
    # speed 2

-- I find things always sound better if you speed them up a little.
-- Your experience may vary :)
setcps 0.7

-- endregion

-- region Lesson 3 Combining patterns with arithmetic, plus the ‘hurry’ function

-- Ok, so what happens when we specify a 'control' pattern (like e.g. n,
-- sound, speed, or squiz) more than once?

-- Lets start with the handy 'numbers' sounds:
d1 $ n "0 1 ~ 2" # sound "numbers"

-- lets put than 'n' again, but with a different number:
d1 $ n "0 1 ~ 2" # sound "numbers" # n "4"

-- So.. you can hear that we still have the rhythmic structure from
-- the left, but all the values have been replaced with the one on the
-- right. That's what `#` does!

-- lets make that right hand pattern more complicated:
d1 $ n "0 1 ~ 2" # sound "numbers" # n "4 5"

-- Now the 0 and 1 have been replaced with the 4, and the 2 has been
-- replace with the 5.

-- This is because tidal matches them up for you, based on where they
-- are in the cycle. The 0 and 1 start inside the first half, so are
-- replaced with '4'. The 2 starts inside the second half, so is
-- replace by '5'.

-- # is actually shorthand, for '|>'. There's a whole family of these:

-- |> is structure from the left, values from the right
-- <| is values from the left, structure from the right
-- |< is structure from the left, values from the left
-- >| is structure from the right, values from the right
-- |<| is values from the right, structure from both sides
-- |>| is values from the left, structure from both sides

-- < points to where the values come from, and | goes on the side where the
-- rhythmic structure comes from.

-- Everything from the left:
d1 $ n "0 1 2 3" # sound "numbers" |< n "4 5"

-- Everything from the right:
d1 $ n "0 1 2 3" # sound "numbers" >| n "4 5"

-- Rhythmic structure from left, values from the right:
d1 $ n "0 1 2 3" # sound "numbers" |> n "4 5"

-- Values from the left, rhythmic structure from right:
d1 $ n "0 1 2 3" # sound "numbers" <| n "4 5"

-- Values from the left, rhythmic structure from both sides:
d1 $ n "0 1 2 3" # sound "numbers" |<| n "4 5"

-- The above use of |<| sounds the same as |<, because the rhythmic
-- structures line up.

-- This changes
d1 $ n "0 1 2" # sound "numbers" |>| n "4 5"

-- Some gotchas!

-- Even though you are taking everything from one side, something
-- still has to match up on the other side..
-- So this makes no sound:
d1 $ n "~" # sound "numbers" >| n "4 5"

-- Only the '4' sounds here:
d1 $ n "0 ~" # sound "numbers" >| n "4 5"

-- Most of the time you'll be fine forgetting all this, and just using
-- |> , and its alias # .

-- However, there are other things you can do!

-- Instead of taking values from one side, you can add the values together, by
-- using '+' instead of '>' or '<'.

-- This:
d1 $ n "0 1 2 3" # sound "numbers" |+ n "4 5"

-- adds up to:
d1 $ n "4 5 7 8" # sound "numbers"

-- This:
d1 $ n "0 1 2 3" # sound "numbers" +| n "4 5"

-- adds up to:
d1 $ n "4 7" # sound "numbers"

-- This is because the rhythm comes from the left, from the "4 5", and
-- so we start from that. The start of 4 matches with 0, and the start
-- of 5 matches with 2, and adding them up, we end up with 4+0=4, and
-- 5+2 = 7.

-- This all gets complicated, especially when you work with patterns
-- with different numbers of steps..

d1 $ n "0 1 2 3" # sound "numbers" |+ n "4 5 6"

-- But don't worry too much. You just have to say what you want to
-- add together, let Tidal worry about working it out for you!

-- Ok that's enough numbers, lets put this into action with some
-- interesting patterns.

-- Here's one adding together 'n' patterns, using |+| to take
-- structure from both sides. On the right hand side, it uses the < >
-- mininotation syntax to pick a different subsequence per cycle.
-- The result is an interesting, longer form pattern:

d1 $ n "0 1 2 [3 5]" # sound "cpu"
  |+| n "<[4 5 3 2] [5 4 3] [6 5]>"
  # squiz 2

-- I just added a bit of squiz there to make it sound nice.

-- Here's a simpler example, cycling between three 12 note octaves, one per cycle:
d1 $ n "7 5 [2 7] 0" # sound "superpiano"
  |+ n "<-12 0 12>"

-- It's actually possible to apply these to patterns of numbers
-- _before_ they become control patterns, like this:
d1 $ n ("7 5 [2 7] 0" |+ "<-12 0 12>") # sound "superpiano"

-- You have to use parenthesis to make sure the two patterns are added
-- together, before being passed to the 'n'.

-- To be clear, this is a pattern of numbers:
-- "7 5 [2 7] 0"

-- This is a control pattern, because 'n' turns numbers into synthesiser
-- control patterns:
-- n "7 5 [2 7] 0"

-- This all works for effects too:
d1 $ n "0(5,8) [4 1]" # sound "drum"
  # squiz "0 2 5"
  |+ squiz "<0 2 3>"

-- Or again, you can add the number patterns, rather than the control
-- patterns. This is the same:
d1 $ n "0(5,8) [4 1]" # sound "drum"
  # squiz ("0 2 5" |+ "<0 2 3>")

-- See which you prefer to do!

-- 'saw' is a pattern that slowly moves from 0 to 1 over a cycle. Here
-- I'm slowing it down so it lasts 4 cycles, slowing increasing the
-- speed over that time:
d1 $ n "[0 4 2] [4 1] 3 [2 0] 3 [3 1] 4 4" # sound "cpu"
  # squiz 3
  # speed "1 [2 3] 3"
  |+ speed (slow 4 saw)
