Re: gEDA-user: Audio processing

[Andy Fierman <andyfierman@xxxxxxxxxxxxxxx>]

Another problem is that the ear is very sensitive to the delay between
the note being struck and the actual sound being produced. The
processing delay has to be in the order of a few milliseconds or life
gets very confusing for the player and any other listeners.

The guitars Roland built for their guitar synthesisers around the
1980's used seperate pickups for each string.

http://www.synthmuseum.com/roland/rolgr30001.html

There's info floating about the web on how they worked and how they
fed signals back to each string through a drive head to turn the
strings into oscillators and so get "infinite" sustain.

The early versions struggled to keep up with playing faster riffs etc.
The later ones were better but even they struggled with the virtuoso
players.

The SynthAxe went to the extreme of only having the strings as a
mechanism to connect to the frets to determine pitch with some sort of
strain gauge to define pitch bend per string. It used 2 sets of
strings, one on the neck for pitch and a second short set for
triggering and envelope generation: start, decay and amplitude of
notes etc.

http://en.wikipedia.org/wiki/SynthAxe

An amazing performance machine but sooooooooooooooooo expensive.

Cheers,

         Andy.


On 14 April 2010 23:59, Dave McGuire <mcguire@xxxxxxxxxxxxx> wrote:
> On 4/14/10 6:44 PM, John Doty wrote:
>>>
>>>  Why is disentangling the chords any more difficult than looking at the
>>> frequency spectrum and picking out the peaks?
>>
>> Because a note isn't a pure tone. If you see 1319 Hz, is that E6 or the
>> third harmonic of A4? The spectrum will contain many more peaks than there
>> are notes. Then, you might have half a dozen instruments, some (guitar,
>> piano, ...) emitting multiple notes. So, what chord is the guitar player
>> playing?
>
>  Ahhhh I see, ok.  I suppose they're nowhere near sinusoidal.  I was
> thinking in those terms.
>
>            -Dave
>
> --
> Dave McGuire
> Port Charlotte, FL
>
>
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