Page 2 of 2

Re: Piano Synthesis

PostPosted: Wed Mar 04, 2020 7:02 pm
by adamszabo
To make it work on the alpha, remove the hammer noise module, its causing an INF, i have no idea why though

Re: Piano Synthesis

PostPosted: Wed Mar 04, 2020 9:41 pm
by kortezzzz
tulamide wrote:Please accept, that everything on this very forum will exclude Flowstone Alpha. If something doesn't work ask for help in the slack group. I say this, because I want everyone who reads here to understand that Flowstone 3x and Flowstone Alpha are two very different things.

It's an alpha, and still in the testing phase.

So please, all who read here: Keep the alpha version excluded from this forum :)


Ok got it. Although my situation is rare. I can't work with 3.0.6. It crashes after the 3th-4th action I make with the "out of memory" message.

adamszabo wrote:To make it work on the alpha, remove the hammer noise module, its causing an INF, i have no idea why though


Thanks Adam. Also the "velocity sens" module caused a stacked audio here. After removing, it plays normally.

Re: Piano Synthesis

PostPosted: Sat Mar 07, 2020 1:43 pm
by martinvicanek
adamszabo wrote:the hammer noise module, its causing an INF
Fixed, thank you Adam. Also simplified after Trog`s hint.

Re: Piano Synthesis

PostPosted: Sat Mar 07, 2020 5:52 pm
by adamszabo
martinvicanek wrote:
adamszabo wrote:the hammer noise module, its causing an INF
Fixed, thank you Adam. Also simplified after Trog`s hint.


Cool it works now! So the "check for changes" code that you changed, how does that work right now?

Re: Piano Synthesis

PostPosted: Sat Mar 07, 2020 7:09 pm
by trogluddite
If it's what I suspect, it relies on the way FS initialises things at note-on. The sample-counter in 'ecx' always gets reset to zero at a note-on, to ensure that the first sample of the new voice never gets jumped over if you were using hopping (it might otherwise lead to missing a gate impulse, for example).

Re: Piano Synthesis

PostPosted: Sat Mar 07, 2020 8:19 pm
by wlangfor@uoguelph.ca
This is exciting and I will take a look, thanks Martin.

I was thinking about piano sounds being synthesized and assumed it would take a great deal of attack and release imposed to various artificial sounds but preceded by an intensely smooth, almost noisless bassy hammer sound that is its own synthesized instrument altogether.

Furthermore, the tremolo and shrillness would happen after the instance of the mid tone. I guess using that method it would involve a lot of crossover. I'll make sure to post My observations; thanks for sharing.

Re: Piano Synthesis

PostPosted: Sat Mar 07, 2020 10:28 pm
by MichaelBenjamin
a physical hammer->spring simulation is probably part of the creme de la creme

Re: Piano Synthesis

PostPosted: Sun Mar 08, 2020 8:57 am
by Spogg
When a piano hammer hits a string a lot happens! The contact time is said to be around 5-10mS (depending on a lot) during which time the string is both excited and damped. After it’s bounced off the string you hear the “sustain” and the harmonics play out.

I found out experimentally that the strike sounded better if the hammer sound amplitude modulated the string sound for that short time. That was counterintuitive because initially I thought just mixing the sounds together would be sufficient. But that’s not what happens, because there’s a brief interaction between the hammer and strings and you hear it. And we all know just how important the attack part is for identifying an instrument.

Another thing to think about is the volume contour, which is quite complex. It seems to resolve into basically a two-stage decay, the first part being fast and the second part much slower relatively, and both being exponential in shape. Strike force (velocity) influences the height of the first decay phase.

Cheers

Spogg

Re: Piano Synthesis

PostPosted: Sun Mar 08, 2020 4:06 pm
by wlangfor@uoguelph.ca
Spogg wrote:When a piano hammer hits a string a lot happens! The contact time is said to be around 5-10mS (depending on a lot) during which time the string is both excited and damped. After it’s bounced off the string you hear the “sustain” and the harmonics play out.

I found out experimentally that the strike sounded better if the hammer sound amplitude modulated the string sound for that short time. That was counterintuitive because initially I thought just mixing the sounds together would be sufficient. But that’s not what happens, because there’s a brief interaction between the hammer and strings and you hear it. And we all know just how important the attack part is for identifying an instrument.

Another thing to think about is the volume contour, which is quite complex. It seems to resolve into basically a two-stage decay, the first part being fast and the second part much slower relatively, and both being exponential in shape. Strike force (velocity) influences the height of the first decay phase.

Cheers

Spogg


mmhmm, that would explain your last piano synth's reaction to the equalizer, it had dampened those effects you'd mentioned in an overbearing way. I can't help but to feel that a three or four band EQ is best for that so that it doesn't damage the sound.