[PD] Sigmund~ and tracks.

[J bz]

Hey William,

Ho hum...,

Cheers for having a look though.

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?

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?

Regards,

Julian

On 13 February 2011 02:50, William Brent <william.brent at gmail.com> wrote:

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