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Re: [sc-dev] Re: Some 3.3 work

As the baseline position, I'm with Rohan in not wanting to perturb the basic scsynth specification; co-opting control bus numbers should be a no-no, but good that we seem to have resolved that and defended poor old control bus 0.

I've been reading back through the thread trying to work out your motivations to introduce this, and whilst I can see that you want some easy way to plug Synths together through audio inputs and outputs without using the audio bus system, I'm not sure how compatible this all is with the underlying scsynth architecture. Perhaps what you actually want is a psuedo-UGen, modules of class code to easily plug into new SynthDefs? Sure, maybe some hack to the control inputs of a synth can achieve the aim of plugging audio rate stuff around, but I'm still not convinced by any use case yet. Is there some clear client code that could demonstrate why this would be at all useful? Does it always lead to an implicit A2K?

So I want to just provide a caution on A2K in the first place on signal processing terms. 

Checking the A2K source code I see a dangerous downsampler, since no low pass filtering is employed. Isn't A2K (just take first sample in block, decimate by factor of blocksize) particularly prone to aliasing? 

Perhaps a job for Erik's http://www.mega-nerd.com/SRC/? 


On 19 Dec 2008, at 04:40, Josh Parmenter wrote:

This already happens with UGens that only take a k-rate input but are fed an audio rate signal. So it isn't completely out of left field.


On Dec 18, 2008, at 8:35 PM, James Harkins wrote:

IF an audio bus is mapped to the default \kr Control, then Control.kr will only read the first sample on the audio bus.

That sounds to me like a "silent failure" of the sort crucial rightly questioned the other day. If we go this way, *you* can take all the questions from confused users :)

Part of me hopes JMC will come in with a radical, third solution that blows us all away. There must be a simpler way than this.


: H. James Harkins

"Come said the Muse,
Sing me a song no poet has yet chanted,
Sing me the universal."  -- Whitman

/* Joshua D. Parmenter

“Every composer – at all times and in all cases – gives his own interpretation of how modern society is structured: whether actively or passively, consciously or unconsciously, he makes choices in this regard. He may be conservative or he may subject himself to continual renewal; or he may strive for a revolutionary, historical or social palingenesis." - Luigi Nono