I like change. More precisely, I like improving things. An as some of the people in my entourage would say, I can be a bull in a china shop. So this book sounded interesting.
I love reading books on signal processing, especially on audio signal processing. From books on using effects to a so-called reference, I still enjoy reading them, even if they are frustrating. The only one that was is DAFX: Digital Audio Effects, but I haven’t made a review of it!
American universities have some reputation, in all kind of terms, and the amount of student debt is something I also found baffling. So a book on the failure of US universities was obviously of interest to me.
When I started music almost thirty years ago, one of my music teachers told us that there was a difference between a flat and a sharp note. I didn’t really understand as on a trumpet, both would be the same! I forgot about it, until a few years ago, I was introduced ti the concept of temperament.
It started with he fact that the fifth in a scale has a mathematical relationship to the root note, and all other notes were built from there. At least for the 12 notes we have in the occidental world. Then, I read that at some point, this imperfect scale was replaced by another one, where all 12 notes were evenly split. Of course, that means that the fifth is not the fifth anymore…
Then, I watched a French video on it again, with the proper scientific explanation for different scales, and it got me thinking again. That was what my music teacher was talking about. If you build your scale with the harmonics, you end up with a difference between flats and sharps. But even more, I thought that a melody with flats was more melancholic than one with sharps. But this doesn’t make sense for an evenly tempered scale! They all feel the same way, no matter which scale you use. It’s only if you do like Bach and use an imperfect temperament that you can feel a difference.
So then a musical instrument like strings, or voices, can actually work in a pure temperament. For winds, you can work on adjusting notes on the fly, and also have kind of pure temperament. On a piano, you can’t, you need to tune it right (BTW, I still don’t know how piano tuners can tune pianos when you have to tune them “imperfectly”! Their job is just amazing), or it will feel different from with a symphonic orchestra that can use a pure temperament of any scale.
And this is something quite difficult to achieve with a digital instrument. We expect equal temperament. I wonder how Celemony handles these differences when they tune a voice track.
Anyway, maybe the pure scale is imperfect because the 13th note is not exactly the same of the original note, maybe the equal temperament makes everything similar, but they all bring something. We shouldn’t probably forget about these differences and use them in modern music as well.
As some may know, I’ve switched from wdl-ol to JUCE 5 for my free plugins. In the past, I had to modify by hand all the projects created by the Projucer. And each time JUCE is updated, I need to add these changes to the generated project.
On the develop branch, and in the next minor release ATK 2.1.2, modules for the Projucer will be available. This will enable an easier integration of ATK in your project, as you will “just” need to add these modules to the Projucer (and some additional include files to make ATK compliant with JUCE hierarchy).
There are currently 11 new modules (shameless comparison, that’s far more than the new DSP module, even if there are some filters than I’m missing, but feel free to propose a pull request with new features!).
See the explanation on the release branch and let me know what you think: https://github.com/mbrucher/AudioTK/tree/develop/modules/JUCE
Recently, I took on two classes online on two different providers. After a trial more than a year ago, I decided to try MOOCs and I have a few conclusions from them.
ATK is updated to 2.1.0 with a major refactoring of the Python wrappers and extensive testing of them. New filters were also added to support more complex pipelines (mute/solo and circular buffers for real-time spectrum displays) and Audio ToolKit provies now a CMake configuration file for easier integration in CMake projects.
Vinyl has become trendy again, and as such, I’ve been asked to add some new filters in Audio ToolKit. Here is a small dive in RIAA land.
Recently, I’ve struggled with releasing perfect plugins. There were some glitches in the last 2 plugins that could have been avoided easily with more testing.
So this is a call for people who are interested in my plugins. You can join the mailing list, share your ideas of the current plugins, and the future ones, about what can be made better, how it can be better…