Hey William,<br><br>Ho hum...,<br><br>Cheers for having a look though.<br><br>I'm not completely clear about the continuation flags? I can see from the help file that they're there but what do they mean?<br><br>Perhaps this should be a new thread but why does sigmund have a frequency range of 100,000hz, and what would be a decent useable range from practical experience?<br>
<br>Regards,<br><br>Julian<br><br><div class="gmail_quote">On 13 February 2011 02:50, William Brent <span dir="ltr"><<a href="mailto:william.brent@gmail.com" target="_blank">william.brent@gmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">Hi Julian,<br>
<br>
I just looked at the patches and I hear what you're talking about now.<br>
The erratic changes are because it's really hard to get nice smooth<br>
tracks by analyzing this kind of signal. With violin samples I got<br>
useable results, but the rougher timbre of your viol has a lot of high<br>
frequencies that emerge and disappear unpredictably. I think that<br>
getting 48 stable tracks out of it is probably a lost cause...even<br>
with only 10 it was pretty bad with sigmund~'s default settings.<br>
<br>
The only way I could imagine improving things is to use the flag that<br>
shows up with each track list to indicate whether it's a new track or<br>
a continuation of an old one. With that information, you could try<br>
fading in new tracks on free oscillators in the bank to avoid the<br>
sudden discontinuity when frequency jumps by a huge amount. Data from<br>
a continuing track could safely be sent to the same oscillator. I<br>
guess you could also EQ it to get rid of those unpredictable high<br>
frequencies - I plotted the spectrogram and the most troublesome ones<br>
are above 2500Hz. Of course, that would also put a big damper on the<br>
timbre you're interested in...<br>
<br>
I wish I had a great solution for you, but this is a tough one.<br>
Assigning frequencies to specific oscillators in your bank based on<br>
track flags really seems like the best bet.<br>
<div><div></div><div><br>
<br>
<br>
On Fri, Feb 11, 2011 at 4:54 PM, J bz <<a href="mailto:jbeezez@gmail.com" target="_blank">jbeezez@gmail.com</a>> wrote:<br>
> Right then,<br>
><br>
> I have only sent one sample only:<br>
> '7_45_A_violadamore.wav' (7-string number, 45-midi number, A-note)<br>
> which you will need to send into sigmund~ - I'm using<br>
> [throw~ viola_samples]<br>
> to get it in.<br>
> From sigmund~ it goes into '[pd sine_output] then thrown to<br>
> [sines] which has a switch~, top right.<br>
><br>
> I'm using GEM and MSD to create a 'swarm' which has the partials mapped to<br>
> it so I haven't included my output~ as that would mean including loads of<br>
> extra files.<br>
><br>
> So you will need an output~ to [catch~] the 2 track [throws~]<br>
> [throw~ revsound_L]<br>
> [throw~ revsound_R]<br>
><br>
> I suppose it's quite possible that as your not receiving any pan info the<br>
> audio will be stuck either left or right anyway?<br>
><br>
> What I was trying to achieve with the<br>
> [attdec_gen2]<br>
> inside<br>
> [sine_rev_gen_2]<br>
> was a simple attack and decay but what is happening is that they are being<br>
> triggered all the time, aargh.<br>
><br>
> I would really like the amp and freq from sigmund~ to be as quick and as<br>
> smooth as possible, so any assistance with that will be hugely helpful.<br>
><br>
> As I'm not hugely confident in my programming abilities please point out any<br>
> obvious mistakes and any and all tips and tricks/elegant solutions<br>
> gratefully accepted. Really appreciate the help people.<br>
><br>
> Cheers,<br>
><br>
> Julian<br>
><br>
><br>
> On 11 February 2011 21:18, J bz <<a href="mailto:jbeezez@gmail.com" target="_blank">jbeezez@gmail.com</a>> wrote:<br>
>><br>
>> Hey William,<br>
>><br>
>> Many thanks for offering to have a look at this for me. I'm currently<br>
>> trying to extricate the offending section out of what has now ballooned up<br>
>> into a very involved patch (certainly for me anyway). In the process of<br>
>> doing this I have realised that I am mistakenly constantly sending attacks<br>
>> and decays to the[osc~]'s. It would probably be best for me to just send it<br>
>> 'as is' rather than trying to sort it out. I'm somewhat in over my head<br>
>> with this as it is (maybe not always a bad place to be) and could really do<br>
>> with some advice/help/coding-elegance as my brain is starting to melt.<br>
>><br>
>> Mathieu,<br>
>><br>
>> If you mean the tuning of the viola, yes it's the standard D Maj tuning,<br>
>> low to high A D A D F# A D.<br>
>><br>
>> Very best wishes,<br>
>><br>
>> Julian<br>
>><br>
>> P.S. Back soon<br>
>><br>
>><br>
>><br>
>> On 10 February 2011 23:16, Mathieu Bouchard <<a href="mailto:matju@artengine.ca" target="_blank">matju@artengine.ca</a>> wrote:<br>
>>><br>
>>> On Thu, 10 Feb 2011, William Brent wrote:<br>
>>><br>
>>>>> I'm doing a piece with a viola d'amore (7 string viol)<br>
>>>><br>
>>>> Oops, that's not a violin :) I don't know the lowest note on that one<br>
>>>> offhand...<br>
>>><br>
>>> Is everybody only ever using the default tuning on those things ?<br>
>>><br>
>>> _______________________________________________________________________<br>
>>> | Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC<br>
>><br>
><br>
><br>
<br>
<br>
<br>
</div></div><div><div></div><div>--<br>
William Brent<br>
<a href="http://www.williambrent.com" target="_blank">www.williambrent.com</a><br>
<br>
“Great minds flock together”<br>
Conflations: conversational idiom for the 21st century<br>
<br>
<a href="http://www.conflations.com" target="_blank">www.conflations.com</a><br>
</div></div></blockquote></div><br><div style="padding: 0px; margin-left: 0px; margin-top: 0px; overflow: hidden; word-wrap: break-word; color: black; font-size: 10px; text-align: left; line-height: 130%;">
</div>