i would very much like to have the capability to assign a source and destination to control any MIDI parameter via envelopes, LFOs, or any public member of a plug-in. a means of converting audio volume to a MIDI gain parameter would also be highly desirable. note duration would also be a useful parameter (so longer notes could have longer attacks, and shorter notes shorter attacks).
e.g: i'd like to sidechain the gain on an EQ such that it "ducks" overlapping frequencies of my bass in real time according to the volume of my kick drum.
It would also be highly desirable to assign a gain or function to control the source-to-destination response.
e.g:
i made a comb filter comprised of an effect rack of EQ8s, where each parametric eq is centered about the frequency of a note in the circle of fifths for the note played.
without a means of easily controlling the frequency of each EQ relative to it's current position, the filter can only be tuned for one note. if you could logarithmically shift the frequencies of the EQs such that a single macro control could transpose them all by a specified ratio (i.e. 2^(1/12)), then the filter could easily be tuned to the melody by automating a single macro control.
real time MIDI manipulation and routing
do a search in the wishlist forum and see that you're definitely not alone here..-
Caymus Cab
- Posts: 174
- Joined: Sun Dec 10, 2006 7:18 am
- Location: earth
this is a funny post.
two things:
first your comb filter scenario
you say:
"A comb filter comprised of an effect rack of EQs, where each parametric eq is centered about the frequency of a note for the note played.. "...easily controlling
the frequency of each EQ relative to it's current position..."
answer:
You would hear the same exact thing as a stack of sine waves, each with an arbitrarily set root frequency.
Audio source material entering such a comb filter wouldn't modulate any formants, and all of its own harmonics disappear, it would only gate the frequencies (all sine waves) in the comb stack, the incoming midi notes transposing each frequency in the comb relative to its own root.
You are re-inventing ADDITIVE SYNTHESIS; same exact sonic result.
We did experiments with reaktor synths that transformed incoming midi notes into effect values.
like this: a digital delay set with high 'feedback' and a low 'delay time' will produce a pitch. higher delay time = lower pitch.
incoming midi note values are passed into functions that 'transpose' the delay time, thus producing high and low pythagorean pitches to match the incoming midi notes. (The delay time acts as oscillator frequency, and the delay's feedback just lets the sound slowly fade out).
Once you're effect is acting as oscillator, then the Source audio that gets fed into the effect is only acting as the Gate(with Envelope), and no trace of the source audio will be heard, only the effect acting as oscillator...
two things:
first your comb filter scenario
you say:
"A comb filter comprised of an effect rack of EQs, where each parametric eq is centered about the frequency of a note for the note played.. "...easily controlling
the frequency of each EQ relative to it's current position..."
answer:
You would hear the same exact thing as a stack of sine waves, each with an arbitrarily set root frequency.
Audio source material entering such a comb filter wouldn't modulate any formants, and all of its own harmonics disappear, it would only gate the frequencies (all sine waves) in the comb stack, the incoming midi notes transposing each frequency in the comb relative to its own root.
You are re-inventing ADDITIVE SYNTHESIS; same exact sonic result.
We did experiments with reaktor synths that transformed incoming midi notes into effect values.
like this: a digital delay set with high 'feedback' and a low 'delay time' will produce a pitch. higher delay time = lower pitch.
incoming midi note values are passed into functions that 'transpose' the delay time, thus producing high and low pythagorean pitches to match the incoming midi notes. (The delay time acts as oscillator frequency, and the delay's feedback just lets the sound slowly fade out).
Once you're effect is acting as oscillator, then the Source audio that gets fed into the effect is only acting as the Gate(with Envelope), and no trace of the source audio will be heard, only the effect acting as oscillator...
jasper - you certainly seem to know what you're talking about, but i don't find your predictions to be true in practice.
the rack i built used 18 parametric EQs, each centered over Ex/Bx for each octave from octave0 through 20khz.
this doesn't sound like the same setup you are describing.
however i'll have to toy about with reaktor now and see if i can achieve what i want with it...
the rack i built used 18 parametric EQs, each centered over Ex/Bx for each octave from octave0 through 20khz.
this doesn't sound like the same setup you are describing.
however i'll have to toy about with reaktor now and see if i can achieve what i want with it...
well, as it turns out, i can do the eq tuning to a pretty good approximation using the macro map as a piecewise interpolation scheme!
by setting the min on the macro map to a particular note frequency, and it's max to 1 octave higher, you can shift them all with respect to each other!
it's not exact, but the error introduced in transposing the eqs is <1%
by setting the min on the macro map to a particular note frequency, and it's max to 1 octave higher, you can shift them all with respect to each other!
it's not exact, but the error introduced in transposing the eqs is <1%