Mono vs Poly (real technical limits)?

[Spogg]

This thread is such a tease tulamide!
I find myself desperately trying to “reverse engineer” your project goal from your questions, and I’m starting to think drum machine…

So anyway, you need 8 polysynths, each with 3 oscillators.

On each one you can specify the maximum number of voices before stealing. One or more could be set to 1 voice for monophony.

Each synth responds to just one note, which you can define.

At the output of each synth they are converted to blue and mixed down as required.

Does that sum it up?

Cheers

Spogg

[tulamide]

This thread is such a tease tulamide!
I find myself desperately trying to “reverse engineer” your project goal from your questions, and I’m starting to think drum machine…

So anyway, you need 8 polysynths, each with 3 oscillators.

On each one you can specify the maximum number of voices before stealing. One or more could be set to 1 voice for monophony.

Each synth responds to just one note, which you can define.

At the output of each synth they are converted to blue and mixed down as required.

Does that sum it up?

Cheers

Spogg

I won't spoil the fun. Keep trying.

Your summary is very good. But because this topic is all about finding a decision wether to go with white or blue (and how to), I think I should add that the plan is (really just a plan, because it all comes down to CPU usage), that each of the "polysynths", as you called it, will run through a dedicated filter (= 7 filter, "the control note won't need a filter). What I didn't figure out is the last step, which would be send effects: delay/echo, reverb, compressor. Although I don't know yet how to realize it, I want it to behave like so: For the user there's only one delay/echo, and each "polysynth" gets a send knob, which runs that amount through the one delay/echo. The same for reverb and compressor. So they all share the same effect (and its settings).
As I said, I don't know yet how to realise it, but it might influence your judgement regarding blue or white, that's why I mention it.

[Spogg]

I think the FX send should be easy...

The white synth output will be converted to blue (poly to mono). Every synth’s blue output would be connected to every FX input, via level knobs. Then you set these level knobs (3 knobs per synth if there are 3 FX) according to the amount of “send” you want.

Any good?

I forgot about the weird “Control note” thing when I thought drum machine. Now I’m lost.

Cheers

Spogg

[tulamide]

Now I'm confused again. Spogg, last time you spoke about using blue, but now it seems you prefer white? Is it at all possible to come to a final conclusion? I'm really lost, because I don't want to start working only to realise 6 months later, that I have to redo it all, because the section I chose (wether blue or white) isn't sufficient!

[Spogg]

Sorry for any confusion tulamide.

The ideas have developed as you’ve told us more about what you want, so my most recent post is what my approach would be.

Since you want a polyphonic behaviour, on a per-note basis, the easiest way would be to use white. You can set one, two, three voices (channels) before stealing occurs on each synth line and the assignment and stealing is taken care of for you.

Then you go to blue for the output of each poly line and the signal then gets sent to the FX you want per synth line.
As I found out some time ago, the synth lines can’t have any common controls. This means the synth lines are isolated from each other. Each synth will have the same midi input of course, going to a midi to voices system per synth line.

That describes my initial approach based on everything you’ve told us, but I’m still a bit concerned about the function of the “control note” and what it would be expected to do to the poly synth lines, if anything. That may be a real deal-breaker if it’s intended to control the other 7 poly synth lines, since they have to be totally isolated. So maybe you could expand on that point before you set off on a wild goose chase…

Cheers

Spogg