On 12. april 2015 19:34, Kristian Amlie wrote: > On 11. april 2015 02:33, David Adler wrote: ... > > * For the harmonics faders, use something like logarithmic mapping of > > fader position to value. With the currently implemented mapping, the > > harmonics are audible fairly loud as soon as the fader is pulled up > > by just one or two pixels. > > (Great idea. One caveat I can see regarding compatibility with zyn: > > the then achievable small values, while being loadable in zyn, would > > probably not result in the faders being visibly set to any value < 0 > > and as soon as such a fader is moved, the small value will be lost and > > not reproducible.) > > +1. I wouldn't consider this an incompatible change. What we're changing > is the GUI, not the format nor the audio.
It's a different level of incompatibility. Whether introducing it should be considered harmful, I don't know. > > * An 'import samples' feature in PADsynth. > > (Users of such a feature would have to know what they're doing, i.e. > > load the correct number of perfectly loopable samples of appropriate > > length, to get predictable results. Would anyone actually do this and > > use such a feature? Alternatively, any single sufficiently long sample > > could perhaps be automagically transformed into the required set of > > samples but someone'd have to code that.) > > I think this would be really cool. You could take an already cool sound > and make it even more "lush" in Yoshimi. The sound would have to be > quite uniform in its waveshape though, otherwise I think the algorithm > may introduce unwanted noise. But this is best judged by experiment, > probably. > > One thing that should be possible if this is introduced is to have an > "attack" part which plays once, and then looping the rest. Many sounds > depend on the attack part to be recognizable. Since yoshimi currently does not use separate files for attack, that would require quite a few changes and introduce incompatibility with zyn. As it stands, the envelopes manipulating various parameters over time allow for distinct attack sounds. > > * Optional "crossfades" along overlapping note ranges in instrument > > kits, to achieve a smooth transition from one sound to another. > > (Would hurt compatibility with zyn.) > > I would also like to suggest splitting the instrument kits by velocity, > not just notes. Useful for sounds where you want the sound to have a > harsher wave shape when you play forcefully. Something similar, just not using kits, has actually been demonstrated by Will at LAC. By setting velocity sensitivity of two different synth engines -- or two parts on the same MIDI channel -- to different values one can achieve a velocity dependent mix of the lot. -david ------------------------------------------------------------------------------ BPM Camp - Free Virtual Workshop May 6th at 10am PDT/1PM EDT Develop your own process in accordance with the BPMN 2 standard Learn Process modeling best practices with Bonita BPM through live exercises http://www.bonitasoft.com/be-part-of-it/events/bpm-camp-virtual- event?utm_ source=Sourceforge_BPM_Camp_5_6_15&utm_medium=email&utm_campaign=VA_SF _______________________________________________ yoshimi-user mailing list [email protected] https://lists.sourceforge.net/lists/listinfo/yoshimi-user
