analoq
-
Posts
1,309 -
Joined
-
Last visited
Content Type
Articles
Profiles
Forums
Events
Posts posted by analoq
-
-
Not a supersaw.
It's pulse width modulation, like most trance leads.
-
The next viral video craze right here!
I doubt it can compete with videos that require no creativity, e.g. taking an already popular clip and adding a cat playing keyboard to the end.
-
I put on my imaginary "I Voted" sticker
-
Anti-piracy helps define your pro-status, I mean shit, I have to carry my iLok every where and I hate that.
If that's the case I don't want any "pro" software. I have no patience for kids who steal software but at the same time I refuse to support companies that treat you like a criminal with dongles or other invasive anti-piracy measures.
"which yields better results for audio, PC or MAC." I know it's probably a touchy matter here too, but I was curious.It seems you've already made up your mind on this subject so I can't conceive why you even bother bringing it up... unless you just want to make an ass out of yourself, which you seem to be succeeding at.
-
The graph doesn't say much about how proficient ppl are in those programs... or how active the people are.
Of course not, how do you expect anyone to extrapolate that data when it's not available?
I think the FL dominance among posted remixers isn't that great, tho it may very well be #1 anyway.The discussion is not about posted remixers. Just about users here, which the graph is likely a fair representation of.
-
based on the workshop data...
The FL domination is to be expected, but Logic users are certainly on the map and even narrowing out Live users. Though I find it sad that notation software is beating out so many DAW apps.
-
If there were a good way to add VST/AU support they would've done it.
Like Reason, Record uses the "rack" concept to represent signal flow. It is a unique, consistent interface that would be compromised by integrating AU/VST support.
-
It's a bit odd they tout this for "musicians" instead of "recording engineers" and yet the mixing board is directly based off an SSL that only recording engineers would be familiar with. Also... requires a dongle??
Anyway, I welcome Propellerheads' contribution to this market. The more competition there is, the better.
-
Then dave needs to get in on this. What would be better is if you saved 10% and helped the site whilst doing so.
-
or pirate plug-ins for it!
Don't let anyone fool you, encouraging piracy makes you look cool and mature. It totally doesn't make you look like a bratty teenager who thinks they're entitled to have everything they want for free.
-
Any particular reason you're not posting these in the Fruity Loops forum? Trying to get as much exposure for your affiliate link as possible?
-
Let's use your definition:
Resynthesis implies that some form of recording is being analyzed and broken down into component harmonics, then literally re-synthesized from scratch through the synth engine.That's exactly what's going on here. Somebody already did the work of recording the instruments and breaking down their harmonics into a nice set of XML files (SHARC archive). OP uses the harmonic data from SHARC and re-synthesizes the harmonic data from scratch with a big sine function.
-
Did you click the SHARC link in the OP?
-
hey, I remember you mentioning this in the diy thread. Good stuff, hope you continue with it.
Have any of you ever used Fourier Synthesis or any other ways to generate sound?I coded a drawbar organ, which is additive synthesis. Fourier and additive synthesis are roughly synonymous, I've seen projects like yours referred to as 'additive resynthesis'.
I've also done a single operator FM synth. And you may have seen my subtractive synth from the diy thread (though I borrowed some code to make it).
I remember reading something where this guy was ranting at the horribleness that was the wav file (not the quality, but how it's written)Do you have a link to that rant? I'm just curious because in my experience WAVE is one of the easiest formats to work with.
cheers.
-
I may be wrong
And you are. It only makes sense that Sonar would freeze to the session format. And the track is frozen before the mixing algorithm, so there's really no possibility for loss. Also, Harmony observed the issue as a panning inconsistency; bit depth and/or sample rate reduction wouldn't account for that.
Frozen tracks should be imperceptible from unfrozen tracks. There is something buggy going on.
-
Well I'm not a programmer so making a VSTi isn't an option plus Logic doesn't use VSTi. I'm going to experiment some more with it, but it may come down to just sampling the actual noise.
I use Logic, what I said applies to Audio Units as well. You didn't mention what host you were on so I appealed to majority.
Glad you're making progress, though.
cheers.
-
If I could be arsed to hunt down examples myself then I wouldn't have asked for them. I've never owned a gameboy of any sort.
Yeah I've been experimenting with a 16 bit LFSRHuh? How so?
doing just as you say by gradually changing the loop cycle and the sample rate and I'm getting mixed results at best. The algorithm for the Gameboy noise channel is more intricate than that.It's not any more intricate than that, the problem is finding a grain similar to the psuedo-random pattern is apparently a crapshoot.
it seems that trying to recreate an inferior noise generator with superior hardware is just going against the grain of productivity. There are a lot of factors working against this, many involving the hardware on both ends of the process.You're making it out to be a bigger problem than it is, there are no hardware limitations at work here. Writing an 8-bit LFSR noise generator and wrapping it in the VSTi framework is not difficult, but unless you're a programmer that's probably not an option.
When you're sampling channel 4 just try to isolate the cycle. And playing it back at faster or slower pitches should approximate clock divider changes.
-
I'm a programmer. And I like open source. But I definitely prefer OSX over linux on my personal computer.
OSX doesn't really run on generic hardware. The point of my post wasn't so much suggesting you run out and drop $2,000 on a new computer, but that the environment you have chosen will be counter-productive to music making at times so be prepared for these sorts of headaches.
-
I'm using this as a reference: http://www.devrs.com/gb/files/hosted/GBSOUND.txt
It seems the two modes are switching between an 8-bit and 16-bit LFSR so you're not exactly going to be able to duplicate that in a regular softsynth. I'm going entirely on theory here but if you took a white noise sample into a sampler and reduced the loop cycle point to a very small amount you may get a similar sound.
If you could post some sound examples of the 7 vs. 15 step cycles that might give me some more ideas.
-
Max/MSP comes from IRCAM. It's not the only institution of its kind, we have CCRMA here in the US. There's probably others I'm forgetting.
Actually, its just a patch from Gladiator 2.. Seriously though, it's even the first sound from the demo on their website!That serves a good example of showing the complexity of the THX sound when compared to the sort of approximation you'd get off a regular synthesizer.
-
I always say: If you want to make music in a nice Unix environment, get a Mac.
Otherwise, be prepared to spend more time hacking config files, recompiling to satisfy dependencies, etc.. than making music.
-
I've posted that before, but it was in this intimidating thread so I'm sure it largely went unnoticed.
Anyway, even today you'd really have to know what you're doing to duplicate that sound. Reaktor probably isn't sophisticated enough, probably SuperCollider or ChucK would be the "easiest" way.
-
Yeah, though in general I really wouldn't recommend using any of the original game audio in a remix unless you really know what you're doing.
-
In games when music is "sequenced" via the game's internal software, it contains multiple channels or tracks, and other important data. This method is known as "Midi" as opposed to playing directly from a single 2-channel stereo source.
Stop right there, that's where you're not making sense. You're misusing the terminology. MIDI is not a "method", it is a spec'd protocol. Just because music is sequenced does not make it MIDI. Console games have proprietary protocols for representing music sequences, they do not use MIDI.
In order to extract these samples, you must hex edit the USF file. Wonder how hackers could extract soundfonts from games? This is how it's done. A lot of the ROM hacking is based on the usage of hex editing. Then you must transform this information into useful data in the form of .sf2 files or any files or plugins that can be played in your DAW application.Again I think you understand the concept but you can't seem to articulate it properly. I've done plenty of hex editing, it's not specific to ROM hacking. Sure, if you understand the data format you certainly can use a hex editor to extract the sample data from a USF file, but you're not really hex "editing" it because you're not modifying the file.
Misuse of MIDI and hex editing = making no sense.
Achieving a synth
in Music Composition & Production
Posted
Okay, I'm going to give you the benefit of the doubt and not say you're wrong. What I will say, though, is that when dealing with unisons, detuned-sawtooths and PWM sound very similar because they produce many of the same overtones. If you're stuck in the mindset that the "supersaw" reigns trance then that's not going to do your ears any favors because PWM leads are very, very popular in trance music.
I don't claim to have any intimate knowledge about how this particular sound was designed, but I've made my call and I stick by it -- I'm usually right about these things.
cheers.