I said additive :)
I was talking fully in the freq domain, it's really nice to be free of the
restrictions of IIRs (which I never really understood).
On Jan 4, 2011, at 11:03 PM, Didier Dambrin wrote:
My new additive synth features full control on the filter, and I
learnt a lot about
Am pretty sure that K5 filter emulation did not have any phase shifting,
and it was a very sterile sounding filter. It was good for certain uses,
but sweeps and LFO modulation were nearly useless. No punch. Wimpy.
Perhaps because of the lack of phase shift? That was my theory, but I may
have
Plus it's lack of humility to assume to be the first to have thought of
something. Whatever we come up with, usually it has already been invented,
possibly even centuries ago as a theory ( sometimes at the wrong time no
one paid attention / found it a proper use). But it's pretty rare to
I believe FM sounds got back in fashion at the time everyone had forgotten
that shitty GM FM bank in Windows, when FM meant cheesy MIDI files.
..but the problem with FM is that no one can program presets, it's very
unpredictable when you deal with more than 3 operators, and I'm not sure
today's
highly
myself.
-Original Message-
From: music-dsp-boun...@music.columbia.edu
[mailto:music-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 11:19
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
I believe FM sounds got
-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 11:32
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
The evolution seems to be going towards some kind of middleware guys,
in-between musicians engineers, who program presets
My 2 cents :)
I thought boooring when I read the title of the thesis (it's a domain that
interests me, but I have a problem with school), but I quite enjoyed the guy
morphing into a cat or Bush morphing into Obama :)
I wish I could focus my attention enough to read it all. IMHO even just
How is wikipedia a bad idea? Only because it has mistakes? Sure, but it's
still a lot more reliable than any other source on the net. All
encyclopedias can have mistake any information has to be verified anyway.
What else would replace it? Certainly not random discussions in random
are
*books* about that crap.
-Message d'origine-
From: Thomas Strathmann
Sent: Wednesday, January 11, 2012 10:27 AM
To: music-dsp@music.columbia.edu
Subject: Re: [music-dsp] anyone care to take a look at the Additivesynthesis
article at Wikipedia?
On 1/11/12 9:39 , Didier
To me the (really) old invert a channel trick has never been a proper way
to get surround, while I'd avoid it because it's totally not mono-friendly
(obviously), I like the idea of enhancing a panning knob with it, as to me
it's always useful to have a section (in a sequencer or synth) that's
fundamental and so beautiful -- yes,
there's a deep connection between a circle and a sinewave! -- being
botched.
I'll stop ranting now!
douglas
On 2/23/12 9:53 AM, Didier Dambrin wrote:
There's also the fact that it's not easy to draw a sinewave in existing
tools out there.
Those who have drawn GUIs
. With that
you'll have a 30hz entry with or without a 30hz tone.
Xue
-Original Message-
From: Didier Dambrin
Sent: Thursday, December 06, 2012 10:27 AM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Ghost tone
Mmmh can you explain why it's there (where it's from, I mean
random local
cancellation effects that may arise.
Richard Dobson
On 06/12/2012 12:13, Didier Dambrin wrote:
not at all (plus I never really heard beat frequency as a tone,
beating/a detectable period yes, but not a bassy tone)
-Message d'origine- From: Richard Dobson
Sent: Thursday
according to how loud
they are (you can test this with any sinusoid and a level control), so i
am happy to presume that one way or another the ear is non-linear rather
a lot of the time!
Richard Dobson
On 06/12/2012 13:09, Didier Dambrin wrote:
But in your example, the beating (which I still don't
But (assuming you're talking about ghost fundamental)
1. wouldn't the pattern (diff pattern but same period) of the phase-messed
version be recognized as well?
2. where is that strange feel of pressure (one you don't get with just a
30hz sine) from?
3. why would adding an extra harmonic around
Forwarding the first reply I got, the author apparently can't post to the
list.
Still seems the most plausible one to me.
From: sdiedrich...@mac.com
Sent: Thursday, December 06, 2012 10:48 AM
To: di...@skynet.be
Subject: Re: [off list] Ghost tone
Hi,
Here's something to listen to:
I'm no psychoacoustician, but I do know that the ear doesn't
completely disregard phase on the scale of a few milliseconds (in this
case your signal has a period of around 30 milliseconds). You can't
make the argument that they should sound the same because there's only
a phase difference when
Sqrt is too what I do for uncorrelated/random sources.
Not sure of the reason btw, it may have more to do with statistics.
-Message d'origine-
From: Aengus Martin
Sent: Friday, January 18, 2013 6:27 AM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Calculating
That's why I wrote it's probably more a problem of statistics. The idea is
to work best with random sounds.. and it kinda does.
-Message d'origine-
From: Wen Xue
Sent: Friday, January 18, 2013 2:20 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Calculating
The most important reason to write clear commented code is.. future
yourself, anyway.
You're pretty much a stranger to your own code when you look at it years
later.
-Message d'origine-
From: robert bristow-johnson
Sent: Monday, March 11, 2013 9:38 PM
To:
I have an old onset detector but for drums, you're looking for notes. That's
an even better reason to do it in the time domain IMHO.
Mine (it can be tested in the Slicex plugin) would probably do the job (I
can send you the sources if you want but it's pascal code) unless you also
wanna detect
IMHO, a piece of DSP code is generally used in something else, rarely on its
own. Whether it ends up as part of a bigger project or in a plugin, it'd
better not waste CPU.
All I know is that SIMD is made for DSP, whether it's sound or image
processing it's where most of the CPU goes, so if
my opinion is: above 14bit, dithering is pointless (other than for marketing
reasons), and all of the demonstrations will always make you hear 10bit
worth of audio in a 16bit file tell you to crank the volume to death
-Message d'origine-
From: Emanuel Landeholm
Sent: Friday,
:04 PM
To: music-dsp@music.columbia.edu
Subject: Re: [music-dsp] Dither video and articles
On 3/28/14 12:25 PM, Didier Dambrin wrote:
my opinion is: above 14bit, dithering is pointless (other than for
marketing reasons),
14 bits??? i seriously disagree. i dunno about you, but i still listen
-28, robert bristow-johnson wrote:
On 3/28/14 12:25 PM, Didier Dambrin wrote:
my opinion is: above 14bit, dithering is pointless (other than for
marketing reasons),
14 bits??? i seriously disagree. i dunno about you, but i still listen
to red-book CDs (which are 2-channel, uncompressed 16-bit
no need to deal with denormals on x86's unless you use the FPU, though, as
SSE does it for you
-Message d'origine-
From: Nigel Redmon
Sent: Saturday, March 29, 2014 10:04 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Dither video and articles
Ah yes, the
indeed, if the signal is constant periodic, the safest is to cancel it out
in the time domain with an inverted version
-Message d'origine-
From: Rohit Agarwal
Sent: Tuesday, July 29, 2014 5:40 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Filtering out
Sorry, but if I sum up this video, it goes like this:
you need dithering to 16bit and I'm going to prove it, then the video
actually proves that you don't need it starting at 14bit, but adds it's
only because of the nature of the sound I used for demo.
..then why not use a piece of audio that
” implies that it is
sometimes needed—correct?
On Feb 4, 2015, at 5:06 AM, Didier Dambrin di...@skynet.be wrote:
Then, it’s no-win situation, because I could EASILY manufacture a bit of
music that had significant truncation distortion at 16-bit.
Please do, I would really like to hear it.
I
That's in theory, but in practice, controllers out there send 14bit values
in different ways:
-LSB before MSB
-MSB before LSB
-LSB or MSB sometimes missing (sigh..)
-NRPNs (much more common, with the same differences as above)
-pitch bends (common for mixers)
In practice, there is thus no
mmh, Affiliation: Meridian Audio Ltd?
-Message d'origine-
From: Vicki Melchior
Sent: Friday, February 06, 2015 2:21 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Dither video and articles
The following published double blind test contradicts the results of
a...@cytomic.com wrote:
On 6 February 2015 at 17:32, Didier Dambrin di...@skynet.be wrote:
Just out of curiosity, until which point do you hear the noise in this
little test (a 32bit float wav), starting from a bearable first part?
https://drive.google.com/file/d/0B6Cr7wjQ2EPucjFCSUhGNkVRaUE/view?usp=sharing
I SO agree with 4), that when it comes to recorded not synthesized (but
even synthesized in some cases actually - I've made additive synths and it's
a big CPU saver to avoid processing inaudible partials) audio, room noise is
so much above the levels we're debating, that it's a bit silly.
So you hear all 6 too?
-Message d'origine-
From: Richard Dobson
Sent: Friday, February 06, 2015 4:10 PM
To: music-dsp@music.columbia.edu
Subject: Re: [music-dsp] Dither video and articles
On 06/02/2015 14:21, Andrew Simper wrote:
Sorry, you said until, which is even more confusing.
@music.columbia.edu
Subject: Re: [music-dsp] 14-bit MIDI controls, how should we do Coarse and
Fine?
On 2/4/15 4:21 PM, Didier Dambrin wrote:
That's in theory, but in practice, controllers out there send 14bit values
in different ways:
-LSB before MSB
-MSB before LSB
-LSB or MSB sometimes missing
and see if there’s nothing to worry about, if you prefer.
On Feb 3, 2015, at 10:24 PM, Didier Dambrin di...@skynet.be wrote:
Sorry, but if I sum up this video, it goes like this:
you need dithering to 16bit and I'm going to prove it, then the video
actually proves that you don't need it starting
to bother you, but it does
bother some audio engineers. Here's 16-bit dithered version, for
completeness, so that you can decide if the added noise floor bothers you:
http://earlevel.com/temp/music-dsp/Diva%20bass%2016-bit%20dithered.wav
On Feb 4, 2015, at 1:10 PM, Didier Dambrin di...@skynet.be
and articles
The artifacts are very prominent in the tail end of the truncated file.
I don't understand how you cannot hear it. Must be covered by the noise
floor of your sound card's converters.
Andreas
On 2/5/2015 1:55 PM, Didier Dambrin wrote:
I couldn't hear any difference (through headphones
, and
having a similar exchange with a mastering engineer, who is sending me
examples of why we really must dither at 24-bit ...
On Feb 5, 2015, at 9:49 AM, Didier Dambrin di...@skynet.be wrote:
If you mean that the peak loudness of the synth isn’t hitting full scale
Yeah I mean that, since
that is not, occasionally—fact of life.) But at 16-bit, it’s just not that
hard to hear it—an edge case, for sure, but it’s there, so they will want to
act on it, and I don’t think that’s unreasonable.
On Feb 5, 2015, at 3:15 PM, Didier Dambrin di...@skynet.be wrote:
But the key here is *bits
d'origine-
From: Andrew Simper
Sent: Saturday, February 07, 2015 2:08 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Dither video and articles
On 7 February 2015 at 03:52, Didier Dambrin di...@skynet.be wrote:
It was just several times the same fading in/out noise
tones that are largely
sine like in nature are the border case for dither.
All the best,
Andy
-- cytomic -- sound music software --
On 10 February 2015 at 10:56, Didier Dambrin di...@skynet.be wrote:
I'm having a hard time finding anyone who could hear past the -72dB noise,
here around
What are you talking about - why would phase not matter? It's extremely
important (well, phase relationship between neighboring partials).
16 bits is just barely enough for high-quality audio.
So to you, that Pono player isn't snake oil?
Besides, if it had mattered so much, non-linear
] Dither video and articles
On 2/10/15 1:22 PM, Didier Dambrin wrote:
Of course, a lot of visually different waveshapes sound the same, as soon
as the phase relationship between neighboring partials is shifted by the
same amount.
they can be shifted by *any* amount, as long as it's static
Of course 24bit isn't a bad idea for intermediate files, but 32bit float is
a better idea, even just because you don't have to normalize store gain
information that pretty much no app will read from the file. And since the
price of storage is negligible these days..
-Message
6:11 PM
To: music-dsp@music.columbia.edu
Subject: Re: [music-dsp] Dither video and articles
On 2/10/15 8:49 AM, Didier Dambrin wrote:
What are you talking about - why would phase not matter? It's extremely
important (well, phase relationship between neighboring partials).
well, it's unlikely
monitor much louder than my gear can get.
On Feb 5, 2015, at 4:55 AM, Didier Dambrin di...@skynet.be wrote:
I couldn't hear any difference (through headphones), even after an insane
boost, and even though your 16bit truncated wav was 6dB(?) lower than the
32bit wav
But even if I could hear
I think he was asking if SIMD instructions could work serially internally
instead of in parallel - and there are only 1 or 2 such SIMD instructions,
as it's not really the idea.
As for processing SIMD instructions at the same time, while pairing rules
can be complex interleaving unrelated
control on the filtering.
-Message d'origine-
From: robert bristow-johnson
Sent: Sunday, April 05, 2015 9:23 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Uses of Fourier Synthesis?
On 4/5/15 3:11 PM, Didier Dambrin wrote:
I've created plucked strings using
to have a natural
tremelo on some harmonic as it decays. i dunno.
r b-j
-Message d'origine- From: robert bristow-johnson
Sent: Sunday, April 05, 2015 9:23 PM
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] Uses of Fourier Synthesis?
On 4/5/15 3:11 PM, Didier Dambrin
I've created plucked strings using additive (not FFT), and it sounds the
same as a Karplus Strong, but with more control. So it's definitely doable.
The key is: all oscillators have to be phase-unrelated, or it won't sound
metallic.
-Message d'origine-
From: Zhiguang Zhang
51 matches
Mail list logo
