Competing Modulators — User Guide

Complex FM synthesis with multiple "voices" (modulation processes) that interfere, compete, and create emergent textures through frequency‑modulation‑induced chaos, sidebands, and inharmonic spectra.

Technique: Multiple‑Operator FM Synthesis Implementation: Praat Script Category: Complex Modulation Synthesis Version: 1.0 (2025) License: MIT License

Contents:

What this does Quick start Modulation Theory Voice Architecture Preset Characters Envelope Types Spatial Modes Sonic Applications

What this does

This script implements multi‑voice competing modulation synthesis — a technique where several independent frequency‑modulation (FM) "voices" are simultaneously active, each with its own modulator/carrier relationship, and their outputs are mixed together. Unlike traditional FM synthesis with carefully tuned ratios, here the modulators are designed to "compete": they have non‑integer frequency ratios, chaotic modulation indices, and sometimes exponential FM (where the modulation depth itself modulates). The result is a dense, evolving texture rich with inharmonic sidebands, beating patterns, and emergent rhythms that sound like electronic life‑forms, chaotic machinery, or abstract sonic conflicts.

Key Features:

15 Themed Presets — Gentle Chaos to Quantum Entanglement, each with distinct modulation character
3‑Layer Architecture — Preset (modulation character), Envelope (amplitude shaping), Spatial mode (stereo imaging)
Configurable Voices — 2‑6 independent FM voices, each with unique modulation patterns
10 Envelope Types — From classic ADSR to chaotic Random Bursts
6 Spatial Modes — Mono to extreme stereo separation with rotating/ping‑pong effects
Non‑Linear FM — Exponential modulation, modulation‑of‑modulation, chaotic indices
Real‑time Generation — All synthesis via Praat's formula interpreter (no external samples)

What is "competing modulation"? In standard FM synthesis, a single modulator affects a carrier, producing a harmonic spectrum when the modulation index and ratio are carefully chosen. In competing modulation, multiple modulator‑carrier pairs operate simultaneously with:

Non‑integer ratios: Voices detuned relative to each other (e.g., 1:1, 1.3:1, 1.7:1)
Chaotic modulation indices: Modulation depth varies over time, sometimes chaotically
Modulation of modulation: The modulator frequency itself may be FM'ed (nested FM)
Exponential FM: Carrier frequency multiplied by exp(modulator) instead of (1 + modulator)
Sideband clashes: Sidebands from different voices interact, creating beating and new frequencies

The result is not musical harmony but complex, organic‑sounding textures where the voices seem to "fight" for spectral space.

Technical Implementation: The script builds a massive additive‑FM formula in Praat's formula language. For each voice, it constructs an expression of the form: amp × sin(2π × base × ratio × x × (1 + depth × modulator(x))) or variations (exponential, nested). All voices are summed. Then an envelope is applied (via Formula commands), followed by spatial processing (creating stereo versions with filtering/panning). The formula‑based approach allows arbitrarily complex modulation without runtime loops; all complexity is baked into the mathematical expression that Praat interprets sample‑by‑sample.

Quick start

In Praat, ensure no objects are selected.
Run script… → competing_modulators.praat.
Choose a Preset (e.g., Gentle Chaos, Alien Chorus, Quantum Entanglement).
Select an Envelope type (Percussive, Slow Fade, ADSR, etc.).
Choose a Spatial_mode (Mono, Stereo Voices, Rotating Modulators, etc.).
Adjust basic parameters if needed (Duration, Base_frequency, Modulation_intensity, Number_voices).
Click OK — script generates sound, applies envelope/spatial processing, plays result.
Output sound appears in Objects list with descriptive name.

Quick tip: Start with Gentle Chaos preset, Slow Fade envelope, Stereo Voices spatial mode — this gives an accessible, evolving texture. Try Alien Chorus with ADSR envelope for sci‑vocal textures. Quantum Entanglement with Random Bursts envelope creates extreme, unpredictable results. For spatial effects, Rotating Modulators gives a swirling, 3D feel; Ping Pong War creates aggressive left‑right battles. Increase Number_voices for denser textures (but may become noisy). Reduce Modulation_intensity for more tonal results. Watch the Info window for progress messages.

Important: COMPUTATIONALLY INTENSIVE — complex formulas with many nested trigonometric functions can be slow to evaluate, especially for long durations (>30 s) or high sampling rates (>44.1 kHz). Extreme modulation intensities (>0.9) can produce ultrasonic frequencies that alias; the script doesn't include anti‑aliasing. Many voices (6) with exponential FM can create enormous spectral bandwidth that may sound like noise. Spatial processing creates multiple copies of the sound for filtering/panning, doubling memory usage. The formula‑based approach means all modulation is deterministic — same parameters always produce same output. For variation, manually tweak parameters slightly.

Modulation Theory & Competing FM

Basic FM Synthesis

📐 Classic FM Equation

Single modulator‑carrier pair:

y(t) = A × sin(2π × f_c × t + I × sin(2π × f_m × t)) Where: f_c = carrier frequency f_m = modulator frequency I = modulation index (controls sideband amplitude) A = amplitude In the script's form (simplified): y(t) = sin(2π × f_c × t × (1 + depth × sin(2π × f_m × t))) The ratio f_c : f_m determines harmonicity: Integer ratio (e.g., 1:1, 2:1) → harmonic spectrum Non‑integer ratio (e.g., 1:1.3) → inharmonic spectrum

Competing FM Principles

⚔️ How Voices "Compete"

Spectral competition:

Voice 1: f_c = 100 Hz, f_m = 130 Hz (ratio 1:1.3)
  → sidebands at 100 ± k×130 Hz
      -30, 100, 230, 360, 490...

Voice 2: f_c = 120 Hz, f_m = 190 Hz (ratio 1:1.583)
  → sidebands at 120 ± k×190 Hz
     -70, 120, 310, 500...

Sideband collisions:
  230 Hz (Voice 1) vs 310 Hz (Voice 2) → 80 Hz beat
  360 Hz (Voice 1) vs 310 Hz (Voice 2) → 50 Hz beat

Temporal competition: Modulation indices vary over time, causing sideband amplitudes to wax/wanes, creating evolving loudness battles.

Phase competition: Initial phases are arbitrary, causing constructive/destructive interference that changes with time.

Advanced FM Variations Used

# 1. Nested FM (modulation of modulation) sin(2π × f_c × t × (1 + depth × sin(2π × f_m × t + phase_shift × sin(2π × f_slow × t)))) # 2. Exponential FM (extreme spectral broadening) sin(2π × f_c × t × exp(depth × sin(2π × f_m × t))) # Much stronger sidebands, chaotic for depth > ~0.3 # 3. Time‑varying modulation index sin(2π × f_c × t × (1 + depth(t) × sin(2π × f_m × t))) where depth(t) = 0.3 + 0.2×sin(2π×0.1×t) # slowly varying # 4. Modulator frequency modulation sin(2π × f_c × t × (1 + depth × sin(2π × f_m(t) × t))) where f_m(t) = f_m0 × (1 + 0.1×sin(2π×0.2×t)) # warbling modulator # 5. Brownian‑like modulation (integrated noise) sin(2π × f_c × t × (1 + depth × (sin(2π×0.2×t) + 0.2×sin(2π×1.7×t)))) # Two unrelated modulators summed → quasi‑random walk

Spectral Emergence

Sideband generation (Bessel functions): For FM: y(t) = sin(ω_c t + I sin(ω_m t)) Spectrum: J₀(I) at f_c, J₁(I) at f_c±f_m, J₂(I) at f_c±2f_m, etc. With competing voices: Voice A: f_cA = 100, f_mA = 130, I_A = 1.0 Voice B: f_cB = 120, f_mB = 190, I_B = 0.8 Sidebands: A: 100, 230, 360, 490, -30, -160... B: 120, 310, 500, -70, -260... Intermodulation products: When mixed, non‑linearities create sum/difference tones: f_cA + f_cB = 220 Hz f_cA - f_cB = -20 Hz (becomes 20 Hz amplitude modulation) f_mA + f_mB = 320 Hz (new modulation frequency) Beating patterns: Close sidebands create beats: 230 Hz (A) and 220 Hz (A+B) → 10 Hz beat 360 Hz (A) and 310 Hz (B) → 50 Hz beat These beats themselves modulate amplitude → rhythmic complexity

Complete Signal Flow

STEP 1: PRESET SELECTION Determine base_frequency, modulation_intensity, number_voices Each preset defines specific modulation patterns per voice STEP 2: VOICE FORMULA CONSTRUCTION FOR voice = 1 to number_voices: voice_amp = 1.0 / number_voices # normalize sum voice_ratio = 0.5 + (voice-1)*0.3 # detuned ratios IF preset has specific formula (e.g., Alien Chorus): Build preset‑specific FM formula with exponential/nested FM ELSE: Use default patterns based on voice number: voice 1: Brownian‑like (two unrelated modulators) voice 2: Chaotic (nested FM) voice 3: Random‑walk (time‑varying depth) voice 4+: Exponential FM Add voice formula to master sum STEP 3: GLOBAL AMPLITUDE ENVELOPE Multiply sum by (0.6 + 0.4*sin(2π*0.1*t)) # gentle 0.1 Hz tremolo STEP 4: CREATE SOUND FROM FORMULA Praat interprets the massive formula sample‑by‑sample STEP 5: APPLY SELECTED ENVELOPE Overwrite samples with envelope‑shaped version STEP 6: SPATIAL PROCESSING Based on spatial_mode: Mono: keep as is Stereo: create filtered left/right versions Rotating: apply panning LFOs etc. STEP 7: PLAY AND RENAME Play result, rename descriptively

Voice Architecture

Voice 1: Brownian‑Like Modulation

🌊 Drifting, Organic

Formula pattern:

amp × sin(2π × base × ratio × t × (1 + intensity × 0.3 × (sin(2π × 0.2 × t) + 0.2 × sin(2π × 1.7 × t))))

Characteristics: Two unrelated low‑frequency modulators (0.2 Hz and 1.7 Hz) sum to create a quasi‑random walk in modulation depth. Produces slow, organic drift with occasional faster fluctuations. Sounds natural, like wind or water.

Spectral effect: Sideband amplitudes drift slowly, creating evolving timbre without abrupt changes.

Voice 2: Chaotic Nested FM

🌀 Nested Complexity

Formula pattern:

amp × sin(2π × base × ratio × t × (1 + intensity × 0.4 × sin(2π × 3 × t + 2 × sin(2π × 0.8 × t))))

Characteristics: Modulator frequency (3 Hz) is itself FM'ed by a 0.8 Hz sine (phase modulation). Creates complex, non‑linear evolution with periodic but intricate patterns. The nesting creates sidebands of sidebands.

Spectral effect: Rich, metallic timbres with beating patterns that repeat every 1.25 seconds (1/0.8).

Voice 3: Random‑Walk Simulation

📈 Time‑Varying Depth

Formula pattern:

amp × sin(2π × base × ratio × t × (1 + intensity × 0.5 × (t/duration) × sin(2π × 5 × t)))

Characteristics: Modulation depth increases linearly over time (ramp from 0 to maximum), creating a systematic spectral broadening. The 5 Hz modulator provides fast fluctuations.

Spectral effect: Starts relatively simple (few sidebands), grows increasingly complex and noisy toward the end. Creates narrative arc.

Voice 4+: Exponential FM

💥 Extreme Spectral Broadening

Formula pattern:

amp × sin(2π × base × ratio × t × exp(-0.5 × intensity × sin(2π × 2 × t)))

Characteristics: Exponential FM (carrier multiplied by exp(modulator) rather than (1+modulator)) creates extreme sideband generation even with small modulation indices. The negative sign creates asymmetric modulation.

Spectral effect: Dense, noise‑like spectra with pronounced 2 Hz amplitude fluctuation (from the modulator). Can become chaotic for intensity > 0.7.

Preset‑Specific Voice Designs

Alien Chorus (exponential FM): Formula: sin(2π×base×ratio×t × exp(intensity×0.4×sin(2π×voice×3×t))) Effect: Each voice has modulator at 3×voice Hz, creating harmonically related but exponentially broadened spectra. Sounds like synthetic vocalizations. Liquid Modulation (nested with time‑varying ratio): Formula: sin(2π×base×ratio×t × (1 + intensity×0.4×sin(2π×voice×1.5×t × (1 + 0.2×sin(2π×0.2×t))))) Effect: Modulator frequency warbles at 0.2 Hz, creating flowing, liquid‑like timbral changes. Metallic Clash (high‑ratio nested FM): Formula: sin(2π×base×ratio×t × (1 + intensity×0.6×sin(2π×voice×2×t + 3×sin(2π×0.5×t)))) Effect: Strong 0.5 Hz phase modulation creates periodic "clanging" every 2 seconds. Sounds like metal objects striking.

Amplitude Normalization

Voice amplitude scaling: Each voice gets amp = 1.0 / number_voices so that summing all voices gives approximately unity gain (assuming uncorrelated signals).

Global amplitude envelope: All voices are multiplied by (0.6 + 0.4 × sin(2π × 0.1 × t)) — a gentle 0.1 Hz (10‑second period) tremolo that adds slow amplitude variation and prevents static textures.

Preset Characters

Gentle Chaos (Preset 2)

🌿 Subtle, Organic Drift

Parameters:

Base frequency: 100 Hz
Modulation intensity: 0.3 (low)
Number voices: 3

Modulation style: All voices use the Brownian‑like pattern (two unrelated low‑frequency modulators). Creates slow, natural‑sounding drift with subtle complexity.

Sonic character: Evolving ambient pad. Gentle enough for background textures, complex enough to stay interesting. Good introduction to competing modulators.

Best with: Slow Fade envelope, Stereo Voices spatial mode.

Metallic Clash (Preset 3)

⚔️ Harsh, Percussive

Parameters:

Base frequency: 180 Hz
Modulation intensity: 0.8 (high)
Number voices: 5

Modulation style: High‑ratio nested FM with strong 0.5 Hz phase modulation. Creates periodic "clangs" every 2 seconds.

Sonic character: Industrial, mechanical sounds. Like metal sheets being struck or machinery with loose parts. Aggressive and rhythmic.

Best with: Percussive or Gate envelope, Ping Pong War spatial mode.

Organic Swarm (Preset 4)

🐝 Insect‑Like Collective

Parameters:

Base frequency: 80 Hz
Modulation intensity: 0.4 (medium)
Number voices: 6 (many)

Modulation style: Natural‑sounding modulators with ratios around 0.7×voice number. Creates overlapping but distinct buzzing patterns.

Sonic character: Swarm of insects, beehive activity, or rustling leaves. Many independent elements creating collective motion.

Best with: No envelope or Slow Fade, Binaural Chaos spatial mode.

Alien Chorus (Preset 7)

👽 Synthetic Vocalizations

Parameters:

Base frequency: 140 Hz
Modulation intensity: 0.9 (very high)
Number voices: 5

Modulation style: Exponential FM with harmonically related modulators (3×voice Hz). Creates vowel‑like formants through spectral peaks.

Sonic character: Sci‑fi alien voices, synthetic choir, or processed vocal samples. Uncanny valley between human and machine.

Best with: ADSR or Swell envelope, Rotating Modulators spatial mode.

Liquid Modulation (Preset 13)

💧 Flowing, Fluid Motion

Parameters:

Base frequency: 70 Hz
Modulation intensity: 0.4 (medium)
Number voices: 3

Modulation style: Nested FM with time‑varying modulator frequency (warbling at 0.2 Hz). Creates smooth, continuous timbral changes.

Sonic character: Water flowing, liquid morphing, mercury movement. Smooth yet complex, with no sharp transitions.

Best with: Slow Fade envelope, Stereo Voices spatial mode.

Quantum Entanglement (Preset 16)

⚛️ Extreme, Unpredictable

Parameters:

Base frequency: 190 Hz
Modulation intensity: 1.0 (maximum)
Number voices: 6 (maximum)

Modulation style: Mix of all techniques: exponential, nested, Brownian, chaotic. Maximum complexity.

Sonic character: Chaotic noise with structure, like malfunctioning quantum computer or extreme data corruption. Constantly surprising.

Best with: Random Bursts or Stutter envelope, Wide Field spatial mode.

All Presets Summary

Preset	Base Freq	Intensity	Voices	Character	Best Use
Gentle Chaos	100	0.3	3	Organic drift	Ambient backgrounds
Metallic Clash	180	0.8	5	Industrial percussion	Rhythmic elements
Organic Swarm	80	0.4	6	Insect collective	Nature sound design
Digital Warble	200	0.7	4	Glitchy digital	IDM/glitch music
Harmonic Battle	150	0.6	4	Tonal conflict	Experimental music
Alien Chorus	140	0.9	5	Synthetic vocals	Sci‑fi effects
Glitchy Modulation	220	1.0	3	Extreme digital	Glitch art
Rhythmic Conflict	110	0.5	4	Complex rhythms	Percussion beds
Spectral War	160	0.8	6	Frequency battles	Sound design conflicts
Cosmic Interference	90	0.7	5	Space radio	Space atmospheres
Mechanical Discord	130	0.9	4	Machine malfunction	Industrial soundscapes
Liquid Modulation	70	0.4	3	Fluid motion	Liquid textures
Crystal Resonance	240	0.6	4	Glass/metallic	Bell‑like tones
Neural Network	170	0.8	5	AI‑like thinking	Tech interfaces
Quantum Entanglement	190	1.0	6	Maximum chaos	Extreme textures

Envelope Types

No Envelope

📈 Flat Amplitude

Effect: No amplitude shaping applied — the natural amplitude fluctuations from modulation remain.

Use case: When you want the pure, unmodified modulation texture. Good for very long drones where envelope would be distracting.

Formula: self * 1.0 (no change)

Percussive

🥁 Exponential Decay

Effect: Sharp attack (instant) followed by exponential decay: exp(-x*3).

Characteristics: Decay time ≈ 1.0 second (to 5% amplitude). Creates drum‑like or plucked sounds.

Use case: Turning modulation textures into percussive hits. Works well with Metallic Clash preset.

Formula: self * exp(-x*3)

Slow Fade

🌅 Gentle Exponential Decay

Effect: Very slow exponential decay: exp(-x*0.5).

Characteristics: Decay time ≈ 6 seconds (to 5% amplitude). Creates gradual fade‑outs.

Use case: Ambient textures that slowly disappear. Good with Gentle Chaos or Organic Swarm.

Formula: self * exp(-x*0.5)

Reverse

⏪ Time‑Reversed

Effect: Reverses the entire sound: self[duration - x].

Characteristics: Attack becomes decay, modulation evolution plays backwards.

Use case: Creating "backwards" effects, especially with envelopes that have strong attacks (like Percussive).

Formula: self[duration - x]

Gate

🚪 Rhythmic Gating

Effect: Square‑wave gating at 5 Hz (0.2 second period): on/off every 0.1 seconds.

Characteristics: Creates stuttering, rhythmic pattern. Like a tremolo with 100% depth.

Use case: Rhythmic textures, glitch effects. Works with any preset to add rhythmic interest.

Formula: self * if sin(2π*x/0.2) > 0 then 1 else 0 fi

Tremolo

🎵 Amplitude Modulation

Effect: Sine‑wave tremolo at 6 Hz with 50% depth: 1 - 0.5 + 0.5*sin(2π*6*x).

Characteristics: Smooth, periodic amplitude variation. More musical than Gate.

Use case: Adding "vibrato‑like" amplitude motion. Good with Harmonic Battle or Crystal Resonance.

Formula: self * (0.5 + 0.5*sin(2π*6*x))

Swell

🌊 Linear Fade‑In

Effect: Linear fade‑in over first 40% of duration, then sustain.

Characteristics: Slow attack, no decay. Creates "emerging" textures.

Use case: Sounds that appear from silence. Good for ambient entries.

Formula: self * if x < 0.4*duration then x/(0.4*duration) else 1 fi

ADSR

🎹 Classic Synth Envelope

Parameters:

Attack: 0.05 s (fast)
Decay: 0.2 s
Sustain: 0.7 (70%)
Release: 0.3 s

Effect: Classic synth envelope shape. Note: release starts at end of duration, so for short sounds you may not hear it.

Use case: Traditional synth‑like articulation. Works well with Alien Chorus for vocal‑like phrasing.

Formula: Complex conditional (see script)

Stutter

⏸️ Rapid On/Off Pattern

Effect: Very fast gating at 12 Hz: on/off every ~0.042 seconds.

Characteristics: Creates granular‑like texture, almost like bit‑crushing or sample‑rate reduction.

Use case: Extreme glitch effects, digital distortion. Best with Digital Warble or Glitchy Modulation.

Formula: self * if floor(x*12) mod 2 = 0 then 1 else 0 fi

Random Bursts

🎲 Stochastic Amplitude

Effect: Random amplitude jumps: 30% chance of full amplitude, otherwise 30% amplitude.

Characteristics: Creates unpredictable, bursty texture. Different each time (non‑deterministic).

Use case: Chaotic, noisy textures. Good with Quantum Entanglement for maximum unpredictability.

Formula: self * if randomUniform(0,1) < 0.3 then 1 else 0.3 fi

Spatial Modes

Mono

🔈 Single Channel

Processing: No stereo processing — keeps mono sound as is.

Effect: Centered, single‑channel output. Good for further processing or when stereo would be distracting.

Output name: competing_modulators_mono

Stereo Voices

🎧 Frequency‑Separated Channels

Processing:

Left: Low‑pass filtered (<3 kHz), slightly attenuated (0.9×)
Right: Band‑pass filtered (200‑6000 Hz), slightly attenuated (0.9×)

Effect: Creates sense of width by putting different frequency ranges in different channels. Not true stereo separation but effective.

Output name: competing_modulators_stereo

Rotating Modulators

🌀 Circular Panning Motion

Processing: Applies sine/cosine panning LFO at 0.08 Hz (12.5‑second period):

Left: self * (0.5 + 0.4 * cos(2π * 0.08 * x)) Right: self * (0.5 + 0.4 * sin(2π * 0.08 * x))

Effect: Sound appears to rotate slowly around listener. Creates immersive, 3D feeling.

Output name: competing_modulators_rotating

Binaural Chaos

🧠 Different Textures per Ear

Processing:

Left: Warm texture (50‑3500 Hz), slow 0.15 Hz amplitude modulation
Right: Bright texture (100‑5000 Hz), faster 0.25 Hz amplitude modulation

Effect: Each ear hears a differently filtered/modulated version, creating complex binaural interaction. Can produce phantom centers and width.

Output name: competing_modulators_binaural

Wide Field

🌐 Extreme Stereo Separation

Processing:

Left: Very low‑pass filtered (0‑2000 Hz)
Right: High‑pass filtered (300‑8000 Hz)

Effect: Bass frequencies in left ear, treble in right. Creates extreme width but can feel unnatural. Use sparingly.

Output name: competing_modulators_wide

Ping Pong War

🏓 Fast Alternating Panning

Processing: Fast (2.5 Hz) absolute‑value sine/cosine panning:

Left: self * (0.4 + 0.5 * abs(sin(2π * 2.5 * x))) Right: self * (0.4 + 0.5 * abs(cos(2π * 2.5 * x)))

Effect: Sound jumps rapidly between left and right, creating aggressive "battle" feeling. Like modulators fighting for position.

Output name: competing_modulators_pingpong

Sonic Applications

Ambient Soundscapes

🌌 Evolving Backgrounds

Preset: Gentle Chaos or Cosmic Interference

Envelope: Slow Fade or Swell

Spatial: Rotating Modulators or Binaural Chaos

Duration: 30‑60 seconds

Processing: Add reverb (large hall), subtle pitch modulation, layer multiple instances at different base frequencies.

Result: Living, breathing atmospheric pads for films, games, or meditation.

Sci‑Fi Sound Design

Alien voices: Alien Chorus preset with ADSR envelope, moderate duration (3‑5 s). Pitch shift ±1 octave for different "characters".

Spaceship interiors: Mechanical Discord with Percussive envelope, short duration (1‑2 s), layered with low‑frequency rumble.

Quantum computers: Quantum Entanglement with Random Bursts, spatial Ping Pong War. Add bit‑crushing for digital edge.

Experimental Music

Glitch/IDM: Digital Warble or Glitchy Modulation with Stutter envelope. Chop into 0.1‑0.5 s segments, rearrange rhythmically.

Drone metal: Metallic Clash with no envelope, long duration, heavily distorted. Layer with guitar feedback.

Microtonal exploration: Set base frequency to non‑standard values (e.g., 137 Hz, 171 Hz) to explore non‑equal‑tempered harmonic conflicts.

Sound Effects Library

Nature effects:

Insect swarm: Organic Swarm, No envelope, 10 s, Binaural Chaos
Underwater bubbles: Liquid Modulation, Percussive envelope (short), reverse some instances
Wind through cracks: Gentle Chaos, Slow Fade, high‑pass filter >500 Hz

Mechanical effects:

Machine malfunction: Mechanical Discord, Random Bursts, Ping Pong War
Metal stress: Metallic Clash, Swell envelope (long attack), low‑pass filter
Electrical arcing: Crystal Resonance, Percussive (very short), add crackle sample

Generative Composition

Algorithmic approach: Script‑controlled parameter variation:

# Pseudocode for generative piece: for section = 1 to 10 preset = random integer from 2 to 16 envelope = random integer from 1 to 10 spatial = random integer from 1 to 6 base_freq = 60 * 2^(randomUniform(0,3)) # 60‑480 Hz duration = randomUniform(3, 15) # Generate sound... # Cross‑fade with previous section endfor

Result: Ever‑changing composition that explores the parameter space systematically.

Practical Workflow Examples

🎬 Film: "Abandoned Space Station"

Scene: Character enters derelict control room

Sound layers:

Background hum: Gentle Chaos, Slow Fade, 60 s, Rotating Modulators
Malfunctioning console: Mechanical Discord, Random Bursts, 8 s, Ping Pong War (sporadic)
Alien presence: Alien Chorus, ADSR (short), 3 s, Binaural Chaos (occasional)
Structural stress: Metallic Clash, Swell (long), 12 s, low‑passed

Mix: Layer with foley (footsteps, door creaks), reverb tail matching room size.

🎵 Track: "Quantum Dissonance" (Experimental)

Structure:

Intro (0:00‑1:00): Gentle Chaos, Slow Fade, mono
Build (1:00‑2:30): Harmonic Battle, Swell, Stereo Voices
Climax (2:30‑3:30): Quantum Entanglement, Random Bursts, Ping Pong War
Breakdown (3:30‑4:30): Liquid Modulation, Reverse, Binaural Chaos
Outro (4:30‑5:30): Cosmic Interference, Slow Fade, Rotating Modulators

Processing: Add compression, side‑chain to kick drum, stereo widening.

Advanced Techniques & Customization

Modifying the Script

Adding new presets: Extend the if preset = ... section with new parameter sets and formula patterns.

Custom voice formulas: Replace the default voice patterns with your own FM expressions. Example:

# Custom exponential FM with feedback‑like structure voice_formula$ = string$(voice_amp) + " * sin(2*pi*" + string$(base_frequency) + "*" + string$(voice_ratio) + "*x * " voice_formula$ = voice_formula$ + "exp(" + string$(modulation_intensity) + "*0.3*sin(2*pi*" + string$(voice*2) + "*x * " voice_formula$ = voice_formula$ + "exp(-0.2*sin(2*pi*0.5*x))))" # Nested exponential!

Parameter Automation

Time‑varying parameters: Instead of constants, make parameters functions of time:

# Instead of fixed modulation_intensity: dynamic_intensity = modulation_intensity * (0.7 + 0.3*sin(2*pi*0.2*x)) # Or random walk: # (requires more complex implementation)

Combining with Other Techniques

Granular processing: Generate long texture, then use Praat's "Extract part" and "Concatenate" to create granular cloud.

Spectral processing: Convert to Spectrum, manipulate harmonics/partials, convert back to Sound.

Layering with samples: Mix competing modulators with recorded sounds (machinery, vocals, nature).

Troubleshooting

Problem: Script runs very slowly or Praat freezes
Cause: Extremely complex formula (many voices, nested functions, long duration)
Solution: Reduce number_voices, shorten duration, simplify formulas

Problem: Output is mostly noise/distortion
Cause: Modulation_intensity too high (>0.9) causing extreme frequency deviation
Solution: Reduce modulation_intensity to 0.3‑0.7 range

Problem: Stereo modes sound phasey or weak
Cause: Filtering in spatial modes causing phase cancellation when summed to mono
Solution: Use Mono mode for mono compatibility, or adjust filter slopes

Problem: Random Bursts envelope sounds same each time
Cause: Praat's randomUniform() may be seeded deterministically
Solution: Modify script to use time‑based seed, or accept deterministic "random"