[yoshimi] Re: Significant changes to the Engine? -- Re: Yoshimi V 1.5.10
- From: Ichthyostega <prg@xxxxxxxxxxxxxxx>
- To: yoshimi@xxxxxxxxxxxxx
- Date: Thu, 20 Dec 2018 18:08:15 +0100
Am 20.12.18 um 10:08 schrieb Will Godfrey:
On Thu, 20 Dec 2018 02:30:34 +0100
This also doesn't actually solve the problem, which could bite us later on.
There *shouldn't* be such a significant difference, suggesting there is a
of some kind.
Fully agreed. We need to investigate and understand better what's going on here.
I've got some time now, starting with this evening, and I'll try to zero in and
find out what parts are actually giving the differences I can hear, and under
which circumstances. Also I'll verify some technical points to make sure
my yoshimi build is sane. Of course, I'll report back on my findings And I'll
have a more close look into the paper and review the new implementation.
However, that being said -- what we do in building patches is to filter
the noise source and to modulate or mix it with other sources to produce
interferences, which can be exploited musically. It is a well known fact
that different noise sources can exhibit a different "look and feel" when
used this way. And that is not directly related to their mathematical
properties. Like amount of entropy, time to repetition of a cycle,
spectral distribution on average, local correlatedness of the values.
These mathematical properties are related to, but not the same as those
properties which we exploit musically. A very important part in that game
is the human brain, which has a very astute ability to spot structures.
Even in places, where there aren't any structures, which can be defined
in a mathematically objective sense. If you low-pass filter white noise
you get a fluctuating sonic perception. Or visual perception, if you
do it with video. Humans will hear or see some ephemeral forms then.
Now we mix or modulate this with some other very complex source,
which in itself needs to be too rich to be fully grasped by the
human perception. And the effect is, that the mixture with filtered
noise will accentuate and diminish some of the features of the other
source, in the human perception (that is the important part).
From a standpoint of nature science, you can not other than label those
perceptions as "subjective". Nature science has a certain realm, and must
be kept within that. But we also have moral sciences. The knowledge about
music (music theory, music history, composition and instrument building
crafts) are all moral sciences, not nature sciences. As it turns out,
if you ask several musically trained people about their perceptions
*within a musical context*, you get a surprising high accordance
in the *associations* and *relations* those people attach to
some given sound, performance or score. You'll always find
some details which vary from person to person, but they
tend to relate it mostly to the same synesthesia,
feelings and emotions, composers or scores.
Music is built on that culturally shared part of the individual's perception.
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