And of course I remember now where I read the name before:
Peter Neubaecker was a csound developer, back in the day,
was he not?

Victor
----- Original Message ----- 
From: "Tim Mortimer" 
To: 
Sent: Saturday, March 15, 2008 12:26 AM
Subject: [Csnd] Re: [ot] Melodyne DNA



I agree,

After toying with Melodyne recently on the back of my Britney mania, the
thing i came away with that impressed me most was the interface -

the whole "controllers in lanes" thing p*sses me off. Melodyne plops the
"controller" data right there up against the note/ space it's associated
with. Pure genius? try bleeding obvious! ; )

present the data to the user as he is concieving it, not as your machine is
expecting to read it (as a dedicated, separate controller lane / global
variable...). This reinforced this idea for me high on my own GUI priorities
list...

That & it's capacity to separate drift from vibrato, & of course all the
format tweeky stuff. (with every parameter displayed right there against the
note, & migratable with the note in ne simple action...)

Im only on 56k, so haven't been able to watch the new fangled glory... must
remember to take a look next time i'm in the vicinity of some broadband...

So irrespective of what it can do, i think there is a potentially a genesis
of a whole resynthesis composition interface in the melodyne interface fer
sure. Not to mention whatever DSP chicanery is going on within.

I think the only thing standing in opposition to my statement at the moment
from a resynthesis point of view is the capacity to realise a smooth
interpolation of separate analysis files across the pitch / freq domain to
render audio / multiple .pvx / analysis files as a kind of "matrix" for
seemless glissando type effects.... (something that's living in the back of
my mind for future examination...)

Formant / ratio based data analysis & reduction probably lends itself easier
to this kind of application - i've been looking at using SDIF type data
defined in ratios to the fundamental rather that absolute freq values as a
way forward with this...




Jamie Bullock wrote:
>
>
> For me the impressive thing is the user interface. It's interesting how
> people are mainly focusing on the underlying polyphonic segmentation
> technology. But what impresses me is the slick way in which the
> functionality is made available to the user via what appears to be a very
> friendly and well designed UI.
>
> BTW, I agree about the note-centricity of it, I would like to see a UI
> like this where you can visually manipulate/transform each note's spectrum
> and time stretch by dragging-out the partials, then perform the polyphonic
> segmentation on the result ad infinitum...
>
> Jamie
>
>> indeed. It's impressive but no more than a magic show! I would be more
>> interested in analyzing and tweaking the internal spectral attributes
>> of a sound of any complexity than breaking a guitar chord into its
>> component notes. Can't remember the last time I thought about "notes"!!
>>
>> P
>>
>>
>> On 14 Mar 2008, at 11:49, Dave Phillips wrote:
>>
>>> Stéphane Rollandin wrote:
>>>> Rory Walsh a écrit :
>>>>> I fail to be convinced by this.
>>>>
>>>> same here. mostly viral marketing imho.
>>> My first reaction is to agree, but on reflection I think it's just
>>> another cool piece of music technology.
>>>
>>> I'm reasonably certain it will not improve the quality of popular
>>> music. Nothing else has worked so far. :)
>>>
>>> Best,
>>>
>>> dp
>>>
>>>
>>>
>>> Send bugs reports to this list.
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body
>>> "unsubscribe csound"
>>
>>
>>
>> Send bugs reports to this list.
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>> csound"
>
>
>
>
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
>
>


-----
*******************
www.phasetransitions.net
hermetic music * python * csound * possibly mindless ranting
various werk in perpetual delusions of progress....

-- 
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http://www.nabble.com/-ot--Melodyne-DNA-tp16033390p16062864.html
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Send bugs reports to this list.
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csound"= 

Perhaps he's using Csound to perform his sonic wizardry!

victor wrote:
> And of course I remember now where I read the name before:
> Peter Neubaecker was a csound developer, back in the day,
> was he not?
> 
> Victor
> ----- Original Message ----- From: "Tim Mortimer" 
> To: 
> Sent: Saturday, March 15, 2008 12:26 AM
> Subject: [Csnd] Re: [ot] Melodyne DNA
> 
> 

Yes. He made phasorbnk, adsynt (recently I used this in my example for 
the image opcodes) ...

-c.

victor wrote:
> And of course I remember now where I read the name before:
> Peter Neubaecker was a csound developer, back in the day,
> was he not?
>
> Victor
> ----- Original Message ----- From: "Tim Mortimer" 
> To: 
> Sent: Saturday, March 15, 2008 12:26 AM
> Subject: [Csnd] Re: [ot] Melodyne DNA
>
>
>
> I agree,
>
> After toying with Melodyne recently on the back of my Britney mania, the
> thing i came away with that impressed me most was the interface -
>
> the whole "controllers in lanes" thing p*sses me off. Melodyne plops the
> "controller" data right there up against the note/ space it's associated
> with. Pure genius? try bleeding obvious! ; )
>
> present the data to the user as he is concieving it, not as your 
> machine is
> expecting to read it (as a dedicated, separate controller lane / global
> variable...). This reinforced this idea for me high on my own GUI 
> priorities
> list...
>
> That & it's capacity to separate drift from vibrato, & of course all the
> format tweeky stuff. (with every parameter displayed right there 
> against the
> note, & migratable with the note in ne simple action...)
>
> Im only on 56k, so haven't been able to watch the new fangled glory... 
> must
> remember to take a look next time i'm in the vicinity of some 
> broadband...
>
> So irrespective of what it can do, i think there is a potentially a 
> genesis
> of a whole resynthesis composition interface in the melodyne interface 
> fer
> sure. Not to mention whatever DSP chicanery is going on within.
>
> I think the only thing standing in opposition to my statement at the 
> moment
> from a resynthesis point of view is the capacity to realise a smooth
> interpolation of separate analysis files across the pitch / freq 
> domain to
> render audio / multiple .pvx / analysis files as a kind of "matrix" for
> seemless glissando type effects.... (something that's living in the 
> back of
> my mind for future examination...)
>
> Formant / ratio based data analysis & reduction probably lends itself 
> easier
> to this kind of application - i've been looking at using SDIF type data
> defined in ratios to the fundamental rather that absolute freq values 
> as a
> way forward with this...
>
>
>
>
> Jamie Bullock wrote:
>>
>>
>> For me the impressive thing is the user interface. It's interesting how
>> people are mainly focusing on the underlying polyphonic segmentation
>> technology. But what impresses me is the slick way in which the
>> functionality is made available to the user via what appears to be a 
>> very
>> friendly and well designed UI.
>>
>> BTW, I agree about the note-centricity of it, I would like to see a UI
>> like this where you can visually manipulate/transform each note's 
>> spectrum
>> and time stretch by dragging-out the partials, then perform the 
>> polyphonic
>> segmentation on the result ad infinitum...
>>
>> Jamie
>>
>>> indeed. It's impressive but no more than a magic show! I would be more
>>> interested in analyzing and tweaking the internal spectral attributes
>>> of a sound of any complexity than breaking a guitar chord into its
>>> component notes. Can't remember the last time I thought about "notes"!!
>>>
>>> P
>>>
>>>
>>> On 14 Mar 2008, at 11:49, Dave Phillips wrote:
>>>
>>>> Stéphane Rollandin wrote:
>>>>> Rory Walsh a écrit :
>>>>>> I fail to be convinced by this.
>>>>>
>>>>> same here. mostly viral marketing imho.
>>>> My first reaction is to agree, but on reflection I think it's just
>>>> another cool piece of music technology.
>>>>
>>>> I'm reasonably certain it will not improve the quality of popular
>>>> music. Nothing else has worked so far. :)
>>>>
>>>> Best,
>>>>
>>>> dp
>>>>
>>>>
>>>>
>>>> Send bugs reports to this list.
>>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body
>>>> "unsubscribe csound"
>>>
>>>
>>>
>>> Send bugs reports to this list.
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body 
>>> "unsubscribe
>>> csound"
>>
>>
>>
>>
>> Send bugs reports to this list.
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>> csound"
>>
>>
>
>
> -----
> *******************
> www.phasetransitions.net
> hermetic music * python * csound * possibly mindless ranting
> various werk in perpetual delusions of progress....
>

Someone from the Csound community definately needs to invite Peter Neubacker
out for a drink very soon then.... 

I've been using adsynt a lot lately. Pity you cant set the starting phase
for all the oscillators beyond "random" or "0", i've been looking at
interpolations / variations on a continuum from square to saw to tri to sine
amongst other things... but i cant really get a "triangulation" happening
due inability to set an exact phase shift on the relevant odd harmonics...

-----
*******************
www.phasetransitions.net
hermetic music * python * csound * possibly mindless ranting
various werk in perpetual delusions of progress....

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View this message in context: http://www.nabble.com/-ot--Melodyne-DNA-tp16033390p16073728.html
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