Many new proposals - sketch

This forum section was originally created while we were discussing a new, additional engine and sampler format designed from scratch. In the meantime this resulted in our new SFZ2 engine, which is already implemented to a large extent. However this is still the right place for ideas, feature requests, drafts and plans for new engine / format concepts and ideas. We now have 3 sampler engines (Gig, SFZ2, SoundFont 2). Why not having more?

Many new proposals - sketch

Postby bodzio66 » Sat Oct 22, 2011 2:03 pm

I have a few big proposals. Below I will try casually to describe them. Of course just enough interests I will answer in more detail. I will be writing the musician which wants from the position to use LS for the stage, rather classical music play. I saw some proposals in the program "hauptwerk" written for organists. Some things which there they did superbly are suitable also for vst other instruments.
1. Additional medium exits. He is a normal type of the exit, that all
played sounds on keys in fact are reconstructed. But also such an exit
which he will cause is needed that even though we will press suddenly.
For example: 6 sounds will only play one - either lowest or highest. To
forbid the midi so that she gives off more than one signal of the time
(bottom or upper). Such kind of other additional medium connections.
The effect is ultimate felling: we can have a few voices "full" e.g.::
the flute, the guitar bass joined one by one and vibraphone as only a
grandiloquent voice. Playing on one keyboard we are accompanying with
the grand piano with the heavy bass and the melody. This way kind of
an organist from the church played it on two manuals and the pedal
having only one manual at his disposal. Probably no program similar to
LS has it. I confused something with the translation - I mean exits of
MIDI.
For example: midi alsa binding port incomplete (e.g. high- melody!)
2. Tune pitch and transpose general for all channels suddenly.
Function not only from the level of the edition of the instrument (it
is already) but fast possibility of amending of the key and adapting
oneself with everyone vst completely orchestras. For example to adapt
oneself to too high inflated all the way to 444. Let us say I have all
samples prepared under 440 - well then to do?
Tune pitching up is far more important than the transposition.
3. Temperament general
This function is connected from previous. He is (this way it seems to
me) built on the identical principle. It is about general dressing up
between sounds. Based on a text file. Not from the level of the editor
of samples. For example: to change all A = -5 cent, B = +24 cent......
F=-13cents. Of course, it is possible already to do it with the help
gigedit, however in the course of the concerto of the sample it is
necessary again to fetch, and this way it would be sufficient to
choose the command "temperament meantone" and in two seconds we have
an anew retuned grand piano. It isn't very important to me, but many
musicians would be glad of this function. Myśle the source code is in
"musescore" - he has this function in the modest scope.
After all I am waiting for the response from you what it will be
possible to do with these matters. If you can and you want to make
something from it I offer my further, very tiny translations of these
problems with money...... (I know). As for the last point I am able to
suggest a few cool temperaments.
4. Keyboard abbreviations.
Currently according to QT4 he will let take a walk with the abbreviation between chanels,
probably we have ctrl+letter - solo and mute. Better, if it is possible with pressing one letter or the digit (independently defined!) to go to specific channel. Also a quick abridgement for turning off or including all instruments. The point is that play can as soon as possible and most comfortably to change the configuration of the instrument.
It at the moment so much from my side, perhaps something from what I wrote won't be understandable.
Almost I cannot in English, I am using the translator online, I don't know of what quality explaining him is, they could mix something. If somebody will understand what I mean, and will see that other can not understand please so that he writes his explaining the case from himself.
I am greeting everyone
Bogdan
bodzio66
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Posts: 24
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Extension: Pitch and temperament

Postby bodzio66 » Mon Oct 24, 2011 2:02 pm

I welcome.
My ideas the most are tormenting me alone. Well, if they want to have something good sometimes many people must heavily work hard. He will be enough for philosophy.
I want to elaborate the above subject.
I am linking these two issues, because I suppose they are based on a common module.
So, he can unjustly, it seems to me that LS in very much the simplest manner is starting samples of ready instruments from the level delivered. In other words - won't supervise the outing of these samples. From here, perhaps, the LS engine is almost one with the engine of the given format (before gig, in the future sfz). If I load the sample from the crummy source, where not all sounds are defined, LS is starting reconstructing that's stranges. For example: in the highest octave much lower sound is heard (and what's more one all the time). Of course it is not a LS fault. this way is in this sample. But why not to enter the module of the superintendent which he will force into reconstructing all sounds into the LS engine from definite (ruthless) with frequency.
The lack of the module for the superintendent also causes, that samples coming from various manufacturers can differ in intonation. They together will simply be used to forge. LS could have a channel of the supervision. For example: all A4 sounds (all layers) would have a frequency of 441 Hz irrespective of it, that one is in 442 Hz, and other 439. All and appropriately yes and end.
The same he is with spaces between sounds officially an even space is entertaining one another, but even if it is well tempered departures from this appropriate level of sound often happen.
If will manage to keep an eye on the frequency of every sound, I think that there will be no problem from "general tune pitch" - that is raising the frequency on all notes - for example about one cent.
It will also be possible top-down to establish new spaces between sounds. I am naming it temperament.In the certain program they did it extorting absolute frequency for every note. Below I am serving two slices torn out two different temperaments:
meantone:
PitchHz>393.560889096193
PitchHz>411.222781276223
PitchHz>440
PitchHz>470.791037887457
equal (well tempered)
PitchHz>391.995435981749
PitchHz>415.304697579945
PitchHz>440
PitchHz>466.16376151809

Most probably a mathematical correlation is necessary in flight of tongue cents to the tongue Hz.
After all the user could into the simplest manner force the main module to load some determined temperament and tune pitch to everyone chanels and of layers simultaneously. Cool.
On the margin - I noticed today that some more extended samples this way are done by the producer in order to load them on a few chanels. And there is a problem here - it is inconveniently to exclude the entire instrument - it is necessary to click mute several times (and not to make a mistake). Therefore question, whether possible grouping will be chanels?
I apologise, that so much I am making it difficult for you to live, but that's all through LS engine.... I like him....
bodzio66
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Posts: 24
Joined: Wed Oct 19, 2011 4:03 pm


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