DSP Robotics Support

Thank you for answers, Martin!

The icon is just a picture for this module in Sync Modular.
My idea is like this. I've made a rough picture in Paint. Black points are steady (obviously), blue points are moveable in X-direction (horizontal)


Four moveable points can easily give from Tri to Saw and Square with different transition combinations. Also some kind of a "Sync" effect is achievable over this (I've called this Stretch because wasn't familiar about this thing when I've "invented" this OSC).
Of course I suspect that the idea isn't fresh at all Maybe somebody already had did this?

P.S. I'll dig into FlowStone deeper as soon as I'll have a break from music. It was an "owl time" week with trying different modular programs... very crazy )) FlowStone is the best in my eyes.

Hey guys,

I can't help but go through all of your comments and think I kind of grasp the concepts. I'm a music producer of nearly 9 years, so I can understand some. I'm familiar with how additive and subtractive oscillation works, as well as the concepts of harmonics. I began using a little bit of flowstone (outism synthmaker) a few years ago but then stopped and recently saw the changes that included basic Ruby coding. Even since then, I didn't really go so in dept. I've learned a few Ruby basics online; however, the site is Codecademy and the Ruby I'm learning so far is more user input and output. I don't know if it progresses from there into stream coding or whatnot, but I don't want to waste weeks or months with a site that won't even teach how to begin to build a program with powerful synthesis. What I would like to know is if there are great resources to learn audio synthesis coding and the Ruby/DSP/C++ that goes along with it. I've built some really simple effects in flowstone, but want to take the next leap into something others will want to use in production, and from what I'm reading it's kind of like looking at a huge calculus answer and working backwards to find the actual problem. I've read through the Flowstone Manual, but there really is no starting point. It's mostly about GUIs. The component description guide is no help because it's an alphabetized list that doesn't really explain where to start. Thanks for taking the time to read this. Any advice is great advice.

I personally am finding FS a great environment to learn in, due to the instant feedback available with the DSP Code and similar components. If you just want to get started tinkering, there really doesn't seem to be much need to learn Ruby right away, just plop a DSP Code box in a schematic and go (that's what I've been doing).

Here's some links to get you started:

http://http://musicdsp.org/archive.php

http://www.kvraudio.com/forum/viewforum.php?f=33

http://dspguru.com/

...and of course:

http://flowstone.guru/

The majority of the source code you'll come across is C++, but it's not that hard to translate. For a good example, see Martin's implementation of "Mystran's cheap filter". The ZDF Ladder posted there has the original code included so you can easily compare the two.

just to be clear, if you want to focus on for stream operations, you should use the FS dsp code or assembler (which is its not so readable) deeper view which allows you to optimize at a lower level...

ruby mainly is used for Gui design or controller calculation, you also can use it for stream in a bufferbased way, but generally thats better to do as dsp then with ruby...

maybe it would be posssible to move the last posts here into a new thread in the general section! it has nothing to do with the original thread....

Hey Guys,

Thanks so much for responding. Yeah, sorry, you're right. This should be moved into a new thread since it has nothing to do with oscillators. Since even posting my question, I've realized that DSP and the Assembler are the better ways of doing audio. I'm having a problem with algorithms. I can't find a source that will explain how to learn the basics and build upon those. From what I've researched, FS' DSP language is its own monster. It appears similar to C++ but it isn't. There are different syntax. Also, with the Assembler, it's SSE on x86, which again has very little resources on how to learn translation. Again, I just got the replies and haven't checked the sources you suggested, but if I can't find out how to code properly from there, are there one or two sites that will help?

PS, just finished an effect VST and found out it's not compatible with Mac. So disappointing. FS is great for now, but I want to build things that are compatible for machines that every music producer uses. Any quick tips on where to start with that as well? Thanks so much guys!

ChristienSebastien wrote:Hey guys,

I've built some really simple effects in flowstone, but want to take the next leap into something others will want to use in production, and from what I'm reading it's kind of like looking at a huge calculus answer and working backwards to find the actual problem..

[color=#FF4000]Yeah, that was my first impression of Flowstone. Also, where's that "Ruby Guide to Audio Programming" ?
How do these guys learn this stuff ?

What I do is download as many fsm's as possible, dissect 'em, see how others build their projects.
Also, use the 'scope to look at different signals in the schematics.

I've built some really top grade plugs (VSTs) with Flowstone using these methods.
You don't need Ruby or C++, etc. to build 'em.

I hope this helps !

ROXY [/color]

Time for a little update.
Today I am posting an oscillator which I quite like. Although it has no counterpart in the analog domain, it actually reminds me of a warm Moog sound. It delivers harmonics with an exponential amplitude falloff:

a_n = a_0*q^n with |q| < 1 and n = 1, 2, 3, ...

The parameter q determines the overtone richness or timbre. In the schematic, there is a separate input for this parameter which may be modulated while a note is playing. Aliasing is kept to a low level if you don't exceed q_max = (1 - f)^4. This limit is built in in the schematic below.

I have included a very basic demo synth for you to get a quick idea.

Have fun!

This is a lovely oscillator Martin!

I note that at higher Q values the amplitude falls off considerably at higher keyboard pitches. I’m guessing this is unavoidable, but I wondered if the level could be normalised before it gets outside the oscillator. This would be to avoid clipping and such in any processing that follows on.

Many thanks, as always, for sharing your work with us. You are the master!

Cheers

Spogg

rocknrollkat wrote:In your peak meter you use the same dB converter I came up with, but you divide by 20, I multiply by .05.
I was taught decades ago that computers don't like to divide, they like to multiply.
Dividing took up too many clock cycles.

Green calculations are only calculated if you change them, otherwise are static, so they dont use so much cpu and makes no real difference. If you divide in a stream then yeah, you want to optimize the problem and use multiplication instead of dividing where you can.