looking forward
to some feedback before taking the project to a more mass audience.
Regards,
Frank Sheeran
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As an illustration of my newly-released software I dug through the
recent archive for something that would be easy and fun to implement
in Moselle, and came across this post from forum stalwart Robert
Bistow-Johnson.
The following is a Moselle program (or patch) that implements the
first
URL?
And, question du jour: would it port to the Raspberry Pi?
Richard Dobson
Hi Richard,
Classic mistake: omitting the URL.
http://moselle.invisionzone.com/index.php?/files/file/2-moselle-alpha-release/
The language engine and module library are 100% portable. The portion that
outputs to
I am interested to look at this, primarily as another possible resource
for schools teaching sound and music computing (especially when fully
multi-platform), but disappointed that I have to subscribe to something
simply in order to download it, when it is not even clear what I would
become
Moselle looks interesting and useful and is definitely worth spending time
on. In a way I am sympathetic about the comments about subscription
fatigue. I am a user of MuseScore music notation software. Even though I
like the software tremendously I had to unsubscribe from the forum.
Hi
Hi RBJ,
I see I've mostly concentrated on limitations, without going into what
the software actually does.
Moselle is working software, stable enough to jam and develop with for
hours. Only crashes I see are when I've made unusual programming
errors in a patch I'm writing.
General Overview
Hi,
Would you say the emphasis of the software you're making is on the
structure of the algorithms, or more on the sound quality at the output ?
There are a lot of blocks available in general, as a good example the
freely available open source Ladspa plugins, did you think of using
those, and did
--one line of code. Using
a MIDI controller to slide between Equal Tempered and 7-Limit Just
Intonation: 3 lines.)
In your opinion what other example patches should I add?
Regards,
Frank Sheeran
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Fairly off-subject but I wonder if anyone's heard of something like
this being built?
In the DSP world we toss around concepts like convolution, room
responses and the like, usually in the context of getting natural
reverb but always note the input could be convoluted by any other
signal.
Taking
From my perhaps less-than-perfect reading of this method, it sounds much
like the Casio CZ synthesizer's resonance waveforms.
If you're among the select few who's actually downloaded the alpha of my
functional synthesis patching language, Moselle, you will find a module
called Cazanova that does
Hi Shannon,
> Moselle looks pretty interesting. I'm tempted to give it a test run.
Give it a shot, why not!
> I assume you're looking for feedback on the software, however, just
looking at the website, a couple things spring to mind.
The software itself, the sound modules, website,
This is very basic information I just cannot find...
If I have a sawtooth of amplitude 1 and break it into sine waves, what is
the amplitude of the sine wave fundamental?
Ditto square, triangle?
Experimentally the square and sawtooth waves look like it breaks down into
sines the first of which
Hi Kevin.
I'm the least-expert guy here I'm sure, but as a fellow newbie I might have
some newbie-level ideas for you.
Just to mention something simple: linear interpolating between samples is a
huge improvement in reducing aliasing over not interpolating. For instance
if your playback math
would be measured in Hz? EG, at -6dB or -12dB or something? If so I could
just eyeball it on a graph.
Final question: does anyone know a more comprehensive set of such data?
This CSound data is great but only covers 5 vowels.
Frank Sheeran
*soprano "a"*
freq (Hz) 800 1150 2900
Nigel thanks for your insight on why hardware never (or rarely?) had a
parabolic wave output. In a phrase, too many components.
Parabolic being not so useful? I'd say it's as useful as a triangle,
though that's not saying much.
OK, you say it's easy to make straight lines from a few
Hi Kevin,
> I read at a couple of places if you use a leaky integrator on a Square
> then you can get a Triangle. But as a leaky integrator
> s a first order lowpass filter, you won't get a Triangle waveform, but
> this
A leaky integrator may function as a lowpass filter, but it may not work
I get the digest of the group once or twice a day as traffic warrants, and
I read it on the Google gmail web page on Google Chrome as the browser.
I notice certain posters, and I hate to single out anyone but for
instance Nigel
Redmon, often become quite hard to read with all apostrophes turned
> Another disadvantage was that you get a noticable chirp transient when
> the phases realign after one complete cycle of the wavetable.
Just put them in the buffer with random phases and they'll never re-align.
That's not what a piano does of course, but might be servicable.
BTW, my synth does
>
>
>
> There's an open-source wavetable editor:
>
> https://github.com/AndrewBelt/WaveEdit
Thanks Eric.
> This was written by Andrew Belt (author of VCV Rack) under commission
> from Synthesis Technology for creating wavetables for their line of
> Eurorack wavetable oscillators. Several
My modular synth software now has a wavetable oscillator.
This video shows the editor, which has some of the features of a paint
program to allow you to simply paint harmonics and get instant audio
feedback.
I'm curious if this is novel, or whether it's pretty common. Here it is in
a
the correct sample count.
Thanks,
Frank Sheeran
http://moselle-synth.com
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. Thanks!
On Tue, Apr 17, 2018 at 5:28 PM, <pa...@synth.net> wrote:
> Hi,
>
> Have you considered moving to an FPGA? this way you could potentially do
> a large portion of the processing in parallel.
>
> Paula
>
>
>
> On 2018-04-16 16:46, Frank Sheeran wrote
RBJ says:
> are you making wavetables, Frank?? is that what you're doing?
Well yes.
More specifically, I'm adding Wavetable SYNTHESIS to my long-standing
software synthesizer.
It's been generating waveforms the patch-writer specifies by formula,
and/or by setting individual harmonics, and the
I'm currently just looping and calling sin() a lot. I use trivial 4-way
symmetry of sin() and build a "mipmap" of progressively octave-higher
versions of a wave, to play for higher notes, by copying samples off the
lowest-frequency waveform. That still is only 8x faster than the naive way
to do
Sali Andre,
I'm just now seeing your answer, thanks! It seems a lot more
complicated--but probably far more thorough--an explanation than I have.
The solution I hit upon to generate coefficients "multiplier" and "delta"
for the sample-by-sample calculation
current = previous * multiplier +
I have a general purpose synthesizer envelope with an arbitrary number of
segments. Each segment can be linear or exponential right now, as chosen
by the user.
Whichever of the two options was chosen, the "next sample's output" of the
envelope is generated from the current sample with the
>
> I guess it can be
> proven that the final value is a monotonic function of delta, but
> possibly with large multipliers the output value step (for the smallest
> change of delta) will be quite large, so the search will not fully
> converge.
Yes. For instance with Start = 0+-47dB, End
>
> A very simple parametric curve is
> y = (1 - x) / (1 + a*x)
> With a = 0, you get a line thru 0,1 and 1,0
> With increasing a, you bend the line to almost a sharp angle.
Hello Stefan.
Indeed, that's a simple parametric, but for generating envelopes we have
the freedom to depend on the
> The math behind it looks a bit complicated but for very long (envelope)
phases you might need to update the current value manually because floating
errors will add up
Sali Andre,
I thought this would be a problem, but for exponential curves up to 5
seconds, ranging from 2^(1/12) start to 1
detected wavelength to select the closest known
wavelength (I know the exact frequency of each wheel) but to do so would
make the utility program less general-purpose.
Best regards,
Frank Sheeran
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Best Regards,
Frank Sheeran
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Thank you Nigel, RB-J, Steffan, and Neil.
i suspect that those tone wheel waveforms are close to sinusoidal.
>
Early models were. Starting I think around '53 with the B-3, C-3 and A1xx
series (A100 etc.) they were a bit brighter, and the foot pedals were FAR
brighter.
> but to find out
I have a couple audio programming books (Zolzer DAFX and Pirkle Designing
Audio Effect Plugins in C++). All the filters they describe were easy
enough to program.
However, they don't discuss having the frequency and resonance (or whatever
inputs a given filter has--parametric EQ etc.) CHANGE.
I
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