AMY is a fast, small and accurate music synthesizer library written in C with Python and Arduino bindings that deals with combinations of many oscillators very well. It can easily be embedded into almost any program, architecture or microcontroller. We've run AMY on the web, Mac, Linux, ESP32, ESP32S3 and ESP32P4, Teensy 3.6, Teensy 4.1, the Raspberry Pi, the Pi Pico RP2040, the Pi Pico 2 RP2530, iOS devices, the Electro-Smith Daisy (ARM Cortex M7), and more to come. It is highly optimized for polyphony and poly-timbral operation on even the lowest power and constrained RAM microcontroller but can scale to as many cores as you want.

It can be used as a very good analog-type synthesizer (Juno-6 style) a FM synthesizer (DX7 style), a partial breakpoint synthesizer (Alles machine or Atari AMY), a drum machine (PCM samples included), or as a lower level toolkit to make your own combinations of oscillators, filters, LFOs and effects.

AMY powers the multi-speaker mesh synthesizer Alles, as well as the Tulip Creative Computer. Let us know if you use AMY for your own projects and we'll add it here!

AMY was built by DAn Ellis and Brian Whitman, and would love your contributions.

Chat about AMY on our Discord!

It supports

• An arbitrary number (compile-time option) of band-limited oscillators, each with adjustable frequency and amplitude:
  • pulse ( adjustable duty cycle)
  • sine
  • saw (up and down)
  • triangle
  • noise
  • PCM, reading from a baked-in buffer of percussive and misc samples
  • karplus-strong string with adjustable feedback
  • An operator / algorithm-based frequency modulation (FM) synth
• Biquad low-pass, bandpass or hi-pass filters with cutoff and resonance, can be assigned to any oscillator
• Reverb and chorus effects, set globally
• Stereo pan or mono operation
• An additive partial synthesizer with an analysis front end to play back long strings of breakpoint-based sine waves
• Oscillators can be specified by frequency in floating point or midi note
• Each oscillator has 2 envelope generators, which can modify any combination of amplitude, frequency, PWM duty, filter cutoff, or pan over time
• Each oscillator can also act as an modulator to modify any combination of parameters of another oscillator, for example, a bass drum can be indicated via a half phase sine wave at 0.25Hz modulating the frequency of another sine wave.
• Control of overall gain and 3-band EQ
• Built in patches for PCM, DX7, Juno and partials
• A front end for Juno-6 patches and conversion setup commands
• Built-in clock for short term sequencing of events
• Can use multi-core (including microcontrollers) for rendering if available

The FM synth provides a Python library, fm.py that can convert any DX7 patch into AMY setup commands, and also a pure-Python implementation of the AMY FM synthesizer in dx7_simulator.py.

The partial tone synthesizer provides partials.py, where you can model the partials of any arbitrary audio into AMY setup commands for live partial playback of hundreds of oscillators.

The Juno-6 emulation is in juno.py and can read in Juno-6 SYSEX patches and convert them into AMY commands and generate patches.

Copy this repository to your Arduino/libraries folder as Arduino/libraries/amy, and #include <AMY-Arduino.h>. There are examples for the Pi Pico, ESP32 (and variants), and Teensy (works on 4.X and 3.6) Use the File->Examples->AMY Synthesizer menu to find them.

The examples rely on the following board packages and libraries:

• RP2040 / Pi Pico: arduino-pico
• Teensy: teensyduino
• ESP32/ESP32-S3/etc: arduino-esp32 - use a 2.0.14 version when installing
• The USB MIDI example requires the MIDI Library

You can use both cores of supported chips (RP2040 or ESP32) for more oscillators and voices. We provide Arduino examples for the Arduino ESP32 in multicore, and a pico-sdk example for the RP2040 that renders in multicore. If you really want to push the chips to the limit, we recommend using native C code using the pico-sdk or ESP-IDF.

We have a simple dual core ESP-IDF example available or you can see Alles.

You can import amy in Python and have it render either out to your speakers or to a buffer of samples you can process on your own. To install the libamy library, run cd src; pip install .. You can also run make test to install the library and run a series of tests.

We provide an emscripten port of AMY that runs in javascript. See the AMY web demo. To build for the web, use make web. It will generate amy.js in src/www.

To use AMY in your own software, simply copy the .c and .h files in src to your program and compile them. No other libraries should be required to synthesize audio in AMY. You'll want to make sure the configuration in amy_config.h is set up for your application / hardware.

To run a simple C example on many platforms:

make
./amy-example # you should hear tones out your default speaker, use ./amy-example -h for options

This section introduces AMY starting from the primitive oscillators. If your interest is mainly in using the preset patches to emulate a full synthesizer, you might skip to Voices and patches section.

AMY can be controlled using its wire protocol or by fillng its data structures directly. It's up to what's easier for you and your application.

In Python, rendering to a buffer of samples, using the high level API:

>>> import amy
>>> m = amy.message(voices='0', load_patch=130, note=50, vel=1)
>>> print(m) # Show the wire protocol message
v0n50l1K130r0Z
>>> amy.send_raw(m)
>>> # This plays immediately on Tulip, but if you're running Amy in regular Python, you can get the waveform from render:
>>> audio = amy.render(5.0)

You can also start a thread playing live audio:

>>> import amy
>>> amy.live() # can optinally pass in audio device ID, amy.live(2) 
>>> amy.send(voices='0', load_patch=130, note=50, vel=1)
>>> amy.stop()

In C, using the high level structures directly;

#include "amy.h"
void bleep() {
    struct event e = amy_default_event();
    int32_t start = amy_sysclock();   // Right now..
    e.time = start;
    e.osc = 0;
    e.wave = SINE;
    e.freq_coefs[COEF_CONST] = 220;
    e.velocity = 1;                   // start a 220 Hz sine.
    amy_add_event(e);
    e.time = start   150;             // in 150 ms..
    e.freq_coefs[COEF_CONST] = 440;   // change to 440 Hz.
    amy_add_event(e);
    e.time = sysclock   300;          // in  300 ms..
    e.velocity = 0;                   // note off.
    amy_add_event(e);
}

void main() {
    amy_start(/* cores= */ 1, /* reverb= */ 0, /* chorus= */ 0); // initializes amy 
    amy_live_start(); // render live audio
    bleep();
}

Or in C, sending the wire protocol directly:

#include "amy.h"

void main() {
    amy_start(/* cores= */ 1, /* reverb= */ 0, /* chorus= */ 0);
    amy_live_start();
    amy_play_message("v0n50l1K130r0Z");
}

If you want to receive buffers of samples, or have more control over the rendering pipeline to support multi-core, instead of using amy_live_start():

#include "amy.h"
...
amy_start(/* cores= */ 2, /* reverb= */ 1, /* chorus= */ 1);
...
... {
    // For each sample block:
    amy_prepare(); // prepare to render this block
    amy_render(0, OSCS/2, 0); // render oscillators 0 - OSCS/2 on core 0
    // on the other core... 
    amy_render(OSCS/2, OSCS, 1); // render oscillators OSCS/2-OSCS on core 1
    // when they are both done..
    int16_t * samples = amy_fill_buffer();
    // do what you want with samples
... }

On storage constrained devices, you may want to limit the amount of PCM samples we ship with AMY. To do this, include a smaller set after including amy.h, like:

#include "amy.h"
#include "pcm_tiny.h" 
// or, #include "pcm_small.h"

AMY's wire protocol is a series of numbers delimited by ascii characters that define all possible parameters of an oscillator. This is a design decision intended to make using AMY from any sort of environment as easy as possible, with no data structure or parsing overhead on the client. It's also readable and compact, far more expressive than MIDI and can be sent over network links, UARTs, or as arguments to functions or commands. We've used AMY over multicast UDP, over Javascript, in Max/MSP, in Python, C, Micropython and many more!

AMY accepts commands in ASCII, like so:

v0w4f440.0l1.0Z

This example controls osc 0 (v0), sets its waveform to triangle (w4), sets its frequency to 4400 Hz (f440.0), and velocity (i.e. amplitude) to 1 (l1.0). The final Z is a terminator indicating the message is complete.

Here's the full list:

We'll use Python for showing examples of AMY. Maybe you're running under Tulip, in which case AMY is already loaded, but if you're running under standard Python, make sure you've installed libamy and are running a live AMY first by running make test and then:

python
>>> import amy
>>> amy.live()

AMY is meant to receive messages in real time. It, on its own, is not a sequencer where you can schedule notes to play in the future. However, it does maintain a window of 20 seconds in advance of its clock where events can be scheduled (the window size is configurable of course). This is very helpful in cases where you can't rely on an accurate clock from the client, or don't have one. The clock used internally by AMY is based on the audio samples being generated out the speakers, which should run at an accurate 44,100 times a second. This lets you do things like schedule fast moving parameter changes over short windows of time.

For example, to play two notes, one a second after the first, you could do:

amy.send(osc=0, note=50, vel=1)
time.sleep(1)
amy.send(osc=0, note=52, vel=1)

But you'd be at the mercy of Python's internal timing, or your OS. A more precise way is to send the messages at the same time, but to indicate the intended time of the playback:

start = amy.millis()  # arbitrary start timestamp
amy.send(osc=0, note=50, vel=1, time=start)
amy.send(osc=0, note=52, vel=1, time=start   1000)

Both amy.send()s will return immediately, but you'll hear the second note play precisely a second after the first. AMY uses this internal clock to schedule step changes in breakpoints as well.

amy.drums() should play a test pattern.

Try to set the volume of the synth with amy.volume(2) -- that can be up to 10 or so. The default is 1.

amy.reset() resets all oscillators to default. You can also do amy.reset(osc=5) to do just one oscillator.

Let's set a simple sine wave first

amy.send(osc=0, wave=amy.SINE, freq=220, vel=1)

We are simply telling oscillator 0 to be a sine wave at 220Hz and amplitude (specified as a note-on velocity) of 1. You can also try amy.PULSE, or amy.SAW_DOWN, etc.

To turn off the note, send a note off (velocity zero):

amy.send(osc=0, vel=0)  # Note off.

You can also make oscillators louder with vel larger than 1. By default, the total amplitude comes from multiplying together the oscillator amplitude (i.e., the natural level of the oscillator, which is 1 by default) and the velocity (the particular level of this note event) -- however, this can be changed by changing the default values of the amp ControlCoefficients (see below).

You can also use note (MIDI note value) instead of freq to control the oscillator frequency for each note event:

amy.reset()
amy.send(osc=0, wave=amy.SINE, note=57, vel=1)

This won't work as intended without the amy.reset(), because once you've set the oscillator to a non-default frequency with freq=220, it will act as an offset to the frequency specified by note. (See ControlCoefficients below to see how to control this behavior).

Now let's make a lot of sine waves!

import time
amy.reset()
for i in range(16):
    amy.send(osc=i, wave=amy.SINE, freq=110 (i*80), vel=((16-i)/32.0))
    time.sleep(0.5) # Sleep for 0.5 seconds

Neat! You can see how simple / powerful it is to have control over lots of oscillators. You have up to 64 (or more, depending on your platform). Let's make it more interesting. A classic analog tone is the filtered saw wave. Let's make one.

amy.send(osc=0, wave=amy.SAW_DOWN, filter_freq=400, resonance=5, filter_type=amy.FILTER_LPF)
amy.send(osc=0, vel=1, note=40)

You want to be able to stop the note too by sending a note off:

amy.send(osc=0, vel=0)

Sounds nice. But we want that filter freq to go down over time, to make that classic filter sweep tone. Let's use an Envelope Generator! An Envelope Generator (EG) creates a smooth time envelope based on a breakpoint set, which is a simple list of (time-delta, target-value) pairs - you can have up to 8 of these per EG, and 2 different EGs to control different things. They're just like ADSRs, but more powerful. You can use an EG to control amplitude, oscillator frequency, filter cutoff frequency, PWM duty cycle, or stereo pan. The EG gets triggered when the note begins. So let's make an EG that turns the filter frequency down from its start at 3200 Hz to 400 Hz over 1000 milliseconds. And when the note goes off, it tapers the frequency to 50 Hz over 200 milliseconds.

amy.send(osc=0, wave=amy.SAW_DOWN, resonance=5, filter_type=amy.FILTER_LPF)
amy.send(osc=0, filter_freq='50,0,0,0,1', bp1='0,6.0,1000,3.0,200,0')
amy.send(osc=0, vel=1, note=40)

There are two things to note here: Firstly, the envelope is defined by the set of breakpoints in bp1 (defining the second EG; the first is controlled by bp0). The bp strings alternate time intervals in milliseconds with target values. So 0,6.0,1000,3.0,200,0 means to move to 6.0 after 0 ms (i.e., the initial value is 6), then to decay to 3.0 over the next 1000 ms (1 second). The final pair is always taken as the "release", and does not begin until the note-off event is received. In this case, the EG decays to 0 in the 200 ms after the note-off.

Secondly, EG1 is coupled to the filter frequency with filter_freq='50,0,0,0,1'. filter_freq is an example of a set of ControlCoefficients where the control value is calculated on-the-fly by combining a set of inputs scaled by the coefficients. This is explained fully below, but for now the first coefficient (here 50) is taken as a constant, and the 5th coefficient (here 1) is applied to the output of EG1. To get good "musical" behavior, the filter frequency is controlled using a "unit per octave" rule. So if the envelope is zero, the filter is at its base frequency of 50 Hz. But the envelope starts at 6.0, which, after scaling by the control coefficient of 1, drives the filter frequency 6 octaves higher, or 2^6 = 64x the frequency -- 3200 Hz. As the envelope decays to 3.0 over the first 1000 ms, the filter moves to 2^3 = 8x the default frequency, giving 400 Hz. It's only during the final release of 200 ms that it falls back to 0, giving a final filter frequency of (2^0 = 1x) 50 Hz.

The full set of parameters accepting ControlCoefficients is amp, freq, filter_freq, duty, and pan. ControlCoefficients are a list of up to 7 floats that are multiplied by a range of control signals, then summed up to give the final result (in this case, the filter frequency). The control signals are:

• const: A constant value of 1 - so the first number in the control coefficient list is the default value if all the others are zero.
• note: The frequency corresponding to the note parameter to the note-on event (converted to unit-per-octave relative to middle C).
• vel: The velocity, from the note-on event.
• eg0: The output of Envelope Generator 0.
• eg1: The output of Envelope Generator 1.
• mod: The output of the modulating oscillator, specified by the mod_source parameter.
• bend: The current pitch bend value (from amy.send(pitch_bend=0.5) etc.).

The set 50,0,0,0,1 means that we have a base frequency of 50 Hz, we ignore the note frequency and velocity and EG0, but we also add the output of EG1. Any coefficients that you do not specify, for instance by providing fewer than 7 values, are not modified. You can also use empty strings to skip positional values, so filter_freq=',,,,1' couples EG1 to the filter frequency without changing any of the other coefficients. (Note that when we passed freq=220 in the first example, that was interpreted setting the const coefficient to 220, but leaving all the remaining coefficients untouched.)

Because entering lists of commas is error prone, you can also specify control coefficients as Python dicts consisting of value with keys from the list above, i.e. filter_freq={'const': 50, 'eg1': 1} is equivalent to filter_freq='50,,,,1'.

You can use the same EG to control several things at once. For example, we could include freq=',,,,0.333', which says to modify the note frequency from the same EG1 as is controlling the filter frequency, but scaled down by 1/3rd so the initial decay is over 1 octave, not 3. Give it a go!

The note frequency is scaled relative to a zero-point of middle C (MIDI note 60, 261.63 Hz), so to make the oscillator faithfully track the note parameter to the note-on event, you would use something like freq='261.63,1'. Setting it to freq='523.26,1' would make the oscillator always be one octave higher than the note MIDI number. Setting freq='261.3,0.5' would make the oscillator track the note parameter at half an octave per unit, so while note=60 would still give middle C, note=72 (C5) would make the oscillator run at F#4, and note=84 (C6) would be required to get C5 from the oscillator.

The default set of ControlCoefficients for freq is '261.63,1,0,0,0,0,1', i.e. a base of middle C, tracking the MIDI note, plus pitch bend (at unit-per-octave). Because 261.63 is such an important value, as a special case, setting the first freq value to zero is magically rewritten as 261.63, so freq='0,1,0,0,0,0,1' also yields the default behavior. amp also has a set of defaults: amp='0,0,1,1,0,0,0', i.e. tracking note-on velocity plus modulation by EG0 (which just tracks the note-on status if it has not been set up). amp is a little special because the individual components are multiplied together, instead of added together, for any control inputs with nonzero coefficients. Finally, an offset of 1.0 is added to the coefficient-scaled LFO modulator and pitch bend inputs before multiplying them into the amplitude, to allow small variations around unity e.g. for tremolo. These defaults are set up in src/amy.c:reset_osc().

We also have LFOs, which are implemented as one oscillator modulating another (instead of sending its waveform to the output). You set up the low-frequency oscillator, then have it control a parameter of another audible oscillator. Let's make the classic 8-bit duty cycle pulse wave modulation, a favorite:

amy.reset()  # Clear the state.
amy.send(osc=1, wave=amy.SINE, freq=0.5, amp=1)   # We set the amp but not the vel, so it doesn't sound.
amy.send(osc=0, wave=amy.PULSE, duty={'const': 0.5, 'mod': 0.4}, mod_source=1)
amy.send(osc=0, note=60, vel=0.5)

You see we first set up the modulation oscillator (a sine wave at 0.5Hz, with amplitude of 1). We do not send it a velocity, because that would make it start sending a 0.5 Hz sinewave to the audio output; we want its output only to be used internally. Then we set up the oscillator to be modulated, a pulse wave with a modulation source of oscillator 1 and the duty ControlCoefficients set to have a constant value of 0.5 plus 0.4 times the modulating input (i.e., the depth of the pulse width modulation, where 0.4 modulates between 0.1 and 0.9, almost the maximum depth). The initial duty cycle will start at 0.5 and be offset by the state of oscillator 1 every tick, to make that classic thick saw line from the C64 et al. The modulation will re-trigger every note on. Just like with envelope generators, the modulation oscillator has a 'slot' in the ControlCoefficients - the 6th coefficient, mod - so it can modulate PWM duty cycle, amplitude, frequency, filter frequency, or pan! And if you want to modulate more than one thing, like frequency and duty, just specify multiple ControlCoefficients:

amy.send(osc=1, wave=amy.TRIANGLE, freq=5, amp=1)
amy.send(osc=0, wave=amy.PULSE, duty={'const': 0.5, 'mod': 0.25}, freq={'mod': 0.5}, mod_source=1)
amy.send(osc=0, note=60, vel=0.5)

amy.py has some helpful presets, if you want to use them, or add to them. To make that filter bass, just do amy.preset(1, osc=0) and then amy.send(osc=0, vel=1, note=40) to hear it. Here's another one:

amy.preset(0, osc=2) # will set a simple sine wave tone on oscillator 2
amy.send(osc=2, note=50, vel=1.5) # will play the note at velocity 1.5
amy.send(osc=2, vel=0) # will send a "note off" -- you'll hear the note release
amy.send(osc=2, freq=220.5, vel=1.5) # same but specifying the frequency
amy.reset()

We support bandlimited saw, pulse/square and triangle waves, alongside sine and noise. Use the wave parameter: 0=SINE, PULSE, SAW_DOWN, SAW_UP, TRIANGLE, NOISE. Each oscillator can have a frequency (or set by midi note), amplitude and phase (set in 0-1.). You can also set duty for the pulse type. We also have a karplus-strong type (KS=6).

Oscillators will not become audible until a velocity over 0 is set for the oscillator. This is a "note on" and will trigger any modulators or envelope generators set for that oscillator. Setting velocity to 0 sets a note off, which will stop modulators and also finish the envelopes at their release pair. velocity also internally sets amplitude, but you can manually set amplitude after velocity starts a note on.

Any oscillator can modulate any other oscillator. For example, a LFO can be specified by setting oscillator 0 to 0.25Hz sine, with oscillator 1 being a 440Hz sine. Using the 6th parameter of ControlCoefficient lists, you can have oscillator 0 modulate frequency, amplitude, filter frequency, or pan of oscillator 1. You can also add targets together, for example amplitude frequency. Set the mod_target and mod_source on the audible oscillator (in this case, oscillator 1.) The source mod oscillator will not be audible once it is referred to as a mod_source by another oscillator. The amplitude of the modulating oscillator indicates how strong the modulation is (aka "LFO depth.")

We support lowpass, bandpass and hipass filters in AMY. You can set resonance and filter_freq per oscillator.

You can set a synth-wide volume (in practice, 0-10), or set the EQ of the entire synths's output.

AMY allows you to set 2 Envelope Generators (EGs) per oscillator. You can see these as ADSR / envelopes (and they can perform the same task), but they are slightly more capable. Breakpoints are defined as pairs of time deltas (specified in milliseconds) and target value. You can specify up to 8 pairs, but the last pair you specify will always be seen as the "release" pair, which doesn't trigger until note off. All preceding pairs have time deltas relative to the previous segment, so 100,1,100,0,0,0 goes up to 1 over 100 ms, then back down to zero over the next 100ms. The last "release" pair counts from ms from the note-off.

An EG can control amplitude, frequency, filter frequency, duty or pan of an oscillator via the 4th (EG0) and 5th (EG1) entries in the corresponding ControlCoefficients.

For example, to define a common ADSR curve where a sound sweeps up in volume from note on over 50ms, then has a 100ms decay stage to 50% of the volume, then is held until note off at which point it takes 250ms to trail off to 0, you'd set time to be 50ms and target to be 1.0, then 100ms with target .5, then a 250ms release with ratio 0. By default, amplitude is set up to be controlled by EG0. At every synthesizer tick, the given amplitude (default of 1.0) will be multiplied by the EG0 value. In AMY wire parlance, this would look like v0f220w0A50,1.0,100,0.5,250,0 to specify a sine wave at 220Hz with this envelope.

When using amy.py, use the string form of the breakpoint: amy.send(osc=0, bp0='50,1.0,100,0.5,250,0').

Every note on (specified by setting vel / l to anything > 0) will trigger this envelope, and setting velocity to 0 will trigger the note off / release section.

You can set a completely separate envelope using the second envelope generator, for example, to change pitch and amplitude at different rates.

As with ControlCoefficients, missing values in the comma-separated parameter strings mean to leave the existing value unchanged. However, unlike ControlCoefficients, it's important to explicitly indicate every value you want to leave unchanged, since the number of parameters provided determines the number of breakpoints in the set. So in the following sequence:

amy.send(osc=0, bp0='0,1,1000,0.1,200,0')
amy.send(osc=0, bp0=',,,0.9,,')

.. we end up with the same effect as bp0='0,1,1000,0.9,200,0. However, if we do:

amy.send(osc=0, bp0='0,1,1000,0.1,200,0')
amy.send(osc=0, bp0=',,,0.9')  # No trailing commas.

.. we effectively end up with bp0='0,1,1000,0.9, i.e. the 4 elements in the second bp0 string change the first breakpoint set to have only 2 breakpoints, meaning a constant amplitude during note-on, then a final slow release to 0.9 -- not at all like the first form, and likely not what we wanted.

Try default DX7 patches, from 128 to 256:

amy.send(voices='0', load_patch=128)
amy.send(voices='0', note=50,vel=1)

The load_patch lets you set which preset is used (0 to 127 are the Juno 106 analog synth presets, and 128 to 255 are the DX7 FM presets). But let's make the classic FM bell tone ourselves, without a patch. We'll just be using two operators (two sine waves), one modulating the other.

When building your own algorithm sets, assign a separate oscillator as wave=ALGO, but the source oscillators as SINE. The algorithm #s are borrowed from the DX7. You don't have to use all 6 operators. Note that the algo_source parameter counts backwards from operator 6. When building operators, they can have their frequencies specified directly with freq or as a ratio of the root ALGO oscillator via ratio.

amy.reset()
amy.send(osc=0, wave=amy.SINE, ratio=0.2, amp='0.1,0,0,1', bp0='0,1,1000,0,0,0')
amy.send(osc=1, wave=amy.SINE, ratio=1, amp=1)
amy.send(osc=2, wave=amy.ALGO, algorithm=1, algo_source=',,,,1,0')

Let's unpack that last line: we're setting up a ALGO "oscillator" that controls up to 6 other oscillators. We only need two, so we set the algo_source to mostly not used and have oscillator 1 modulate oscillator 0. You can have the operators work with each other in all sorts of crazy ways. For this simple example, we just use the DX7 algorithm #1. And we'll use only operators 2 and 1. Therefore our algo_source lists the oscillators involved, counting backwards from 6. We're saying only have operator 2 (oscillator 1) and operator 1 (oscillator 0). From the picture, we see DX7 algorithm 1 has operator 2 feeding operator 1, so we have oscillator 1 providing the frequency-modulation input to oscillator 0.

What's going on with ratio? And amp? Ratio, for FM synthesis operators, means the ratio of the frequency for that operator to the base note. So oscillator 0 will be played at 20% of the base note frequency, and oscillator 1 will be the frequency of the base note. And for amp, that's something called "beta" in FM synthesis, which describes the strength of the modulation. Note we are having beta go down over 1,000 milliseconds using an envelope generator. That's key to the "bell ringing out" effect.

Ok, we've set up the oscillators. Now, let's hear it!

amy.send(osc=2, note=60, vel=3)

You should hear a bell-like tone. Nice. (This example is also implemented using the C API in src/examples.c:example_fm().)

Another classic two operator tone is to instead modulate the higher tone with the lower one, to make a filter sweep. Let's do it over 5 seconds.

amy.reset()
amy.send(osc=0, wave=amy.SINE, ratio=1, amp=1)  # Op 1, carrier
amy.send(osc=1, wave=amy.SINE, ratio=0.2, amp=2, bp0='0,0,5000,1,0,0')  # Op 2, modulator
amy.send(osc=2, wave=amy.ALGO, algorithm=1, algo_source=',,,,1,0')

Just a refresher on envelope generators; here we are saying to set the beta parameter (amplitude of the modulating tone) to 2 but have it start at 0 at time 0 (actually, this is the default), then be at 1.0x of 2 (so, 2.0) at time 5000ms. At the release of the note, set beta immediately to 0. We can play it with

amy.send(osc=2, vel=2, note=50)

and stop it with

amy.send(osc=2, vel=0)

Additive synthesis is simply adding together oscillators to make more complex tones. You can modulate the breakpoints of these oscillators over time, for example, changing their pitch or time without artifacts, as the synthesis is simply playing sine waves back at certain amplitudes and frequencies (and phases). It's well suited to certain types of instruments.

We have analyzed the partials of a group of instruments and stored them as presets baked into the synth. Each of these patches are comprised of multiple sine wave oscillators, changing over time. The PARTIALS type has the presets:

amy.send(osc=0,vel=1,note=50,wave=amy.PARTIALS,patch=5) # a nice organ tone
amy.send(osc=0,vel=1,note=55,wave=amy.PARTIALS,patch=5) # change the frequency
amy.send(osc=0,vel=1,note=50,wave=amy.PARTIALS,patch=6,ratio=0.2) # ratio slows down the partial playback

The presets are just the start of what you can do with partials in AMY. You can analyze any piece of audio and decompose it into sine waves and play it back on the synthesizer in real time. It requires a little setup on the client end, here on macOS:

brew install python3 swig ffmpeg
python3 -m pip install pydub numpy --user
tar xvf loris-1.8.tar
cd loris-1.8
CPPFLAGS=`python3-config --includes` PYTHON=`which python3` ./configure --with-python --prefix=`python3-config --prefix`
make
make install
cd ..

And then in python (run python3):

import partials, amy
(m, s) = partials.sequence('sounds/sleepwalk_original_45s.mp3')  # Any audio file
153 partials and 977 breakpoints, max oscs used at once was 8

amy.live() # Start AMY playing audio
partials.play(s)

You can see, given any audio file, you can hear a sine wave decomposition version of in AMY. This particular sound emitted 109 partials, with a total of 1029 breakpoints among them to play back to the mesh. Of those 109 partials, only 8 are active at once. partials.sequence() performs voice stealing to ensure we use as few oscillators as necessary to play back a set.

There's a lot of parameters you can (and should!) play with in Loris. partials.sequence and partials.playtakes the following with their defaults:

def sequence(filename, # any audio filename
                max_len_s = 10, # analyze first N seconds
                amp_floor=-30, # only accept partials at this amplitude in dB, lower #s == more partials
                hop_time=0.04, # time between analysis windows, impacts distance between breakpoints
                max_oscs=amy.OSCS, # max AMY oscs to take up
                freq_res = 10, # freq resolution of analyzer, higher # -- less partials & breakpoints 
                freq_drift=20, # max difference in Hz within a single partial
                analysis_window = 100 # analysis window size 
                ) # returns (metadata, sequence)

def play(sequence, # from partials.sequence
                osc_offset=0, # start at this oscillator #
                sustain_ms = -1, # if the instrument should sustain, here's where (in ms)
                sustain_len_ms = 0, # how long to sustain for
                time_ratio = 1, # playback speed -- 0.5 , half speed
                pitch_ratio = 1, # frequency scale, 0.5 , half freq
                amp_ratio = 1, # amplitude scale
                )

AMY comes with a set of 67 drum-like and instrument PCM samples to use as well, as they are normally hard to render with additive, subtractive or FM synthesis. You can use the type PCM and patch numbers 0-66 to explore them. Their native pitch is used if you don't give a frequency or note parameter. You can update the PCM sample bank using amy_headers.py.

amy.send(osc=0, wave=amy.PCM, vel=1, patch=10) # cowbell
amy.send(osc=0, wave=amy.PCM, vel=1, patch=10, note=70) # higher cowbell! 

You can turn on sample looping, helpful for instruments, using feedback:

amy.send(wave=amy.PCM,vel=1,patch=21,feedback=0) # clean guitar string, no looping
amy.send(wave=amy.PCM,vel=1,patch=21,feedback=1) # loops forever until note off
amy.send(vel=0) # note off
amy.send(wave=amy.PCM,vel=1,patch=35,feedback=1) # nice violin

Up until now, we have been directly controlling the AMY oscillators, which are the fundamental building blocks for sound production. However, as we've seen, most interesting tones involve multiple oscillators. AMY provides a second layer of organization, voices, to make it easier to configure and use groups of oscillators in coordination. And you configure a voice by using a patch, which is simply a stored list of AMY commands that set up one or more oscillators.

A voice in AMY is a collection of oscillators. You can assign any patch to any voice number, or set up mulitple voices to have the same patch (for example, a polyphonic synth), and AMY will allocate the oscillators it needs under the hood. (Note that when you use voices, you'll need to include the voices arg when addressing oscillators, and AMY will automatically route your command to the relevant oscillator in each voice set -- there's no other way to tell which oscillators are being used by which voices.)

To play a patch, for instance the built-in patches emulating Juno and DX7 synthesizers, you allocate them to one or more voices, then send note events, or parameter moidifications, to those voices. For example, a multitimbral Juno/DX7 synth can be set up like this:

amy.send(voices='0,1,2,3', load_patch=1)     # Juno patch #1 on voice 0-3
amy.send(voices='4,5,6,7', load_patch=129)   # DX7 patch #2 on voices 4-7
amy.send(voices=0, note=60, vel=1)           # Play note 60 on voice 0
amy.send(voices=0, osc=0, filter_freq=8000)  # Open up the filter on the Juno voice (using its bottom oscillator)

The code in amy_headers.py generates these patches and bakes them into AMY so they're ready for playback on any device. You can add your own patches by storing alternative wire-protocol setup strings in patches.h.

You can also create your own patches at runtime and use them for voices with store_patch='PATCH_NUMBER,AMY_PATCH_STRING' where PATCH_NUMBER is a number in the range 1024-1055. This message must be on its own in the amy.send() command, not combined with any other parameters, because AMY will treat the rest of the message as a patch rather than interpreting the remaining arguments as ususal.

So you can do:

>>> import amy; amy.live()  # Not needed on Tulip.
>>> amy.send(store_patch='1024,v0S0Zv0S1Zv1w0f0.25P0.5a0.5Zv0w0f261.63,1,0,0,0,1A0,1,500,0,0,0L1Z')
>>> amy.send(voices=0, load_patch=1024)
>>> amy.send(voices=0, vel=2, note=50)

AMY infers the number of oscs needed for the patch at store_patch time. If you store a new patch over an old one, that old memory is freed and re-allocated. (We rely on malloc for all of this.)

You can "record" patches in a sequence of commands like this:

>>> amy.log_patch()
>>> # Execute any commands to set up the oscillators.
>>> amy.preset(5)
>>> bass_drum = amy.retrieve_patch()
>>> bass_drum
'v0S0Zv0S1Zv1w0f0.25P0.5a0.5Zv0w0f261.63,1,0,0,0,1A0,1,500,0,0,0L1Z'
>>> amy.send(store_patch='1024,'   bass_drum)

Note on patches and AMY timing: If you're using AMY's time scheduler (see below) note that unlike all other AMY commands, allocating new voices from patches (using load_patch) will happen once AMY receives the message, not using any advance clock (time) you may have set. This default is the right decision for almost all use cases of AMY, but if you do need to be able to "schedule" voice allocations within the short term scheduling window, you can load patches by sending the patch string directly to AMY using the timer, and manage your own oscillator mapping in your code.

Run python amy_headers.py to generate all the LUTs and patch .h files compiled into AMY.