16 Jan
2003
16 Jan
'03
7:16 a.m.
On Wed, Jan 15, 2003 at 04:14:23 -0800, Tim Hockin wrote:
I'm breaking these into two emails for the two
subjects. I'm replying to
each subject in big reply - so you can see the evolution of my position :)
*** From: David Olofson <david(a)olofson.net>
Does continuous control mean continuous sound?
No, because one of the controls is often gate or amplitude.
The
trigger is a virtual control which really just says whether the
voice is on or not. You set up all your init-latched controls in
the init window, THEN you set the voice on.
The only problem I have with it is that it's completely irrelevant to
continous control synths - but they can just ignore it, or not have
the control at all. 2) continuous control - this includes things like a
violin, which receives
streams of parameters. This gets a VVID for each new voice. If you want
glissando, you would tell the violin synth that fact, and it would handle
it.
Mono-synths need a VOICE, too. Modular synth modules
might not. They are
effectively ON all the time, just silent because of some other control.
This works for modular-style synths, because they are essentially pure
oscillators, right? Mono-synths can still have init-latched values, and
releases etc. Does it hurt anything to give modular synths a VOICE control,
if it buys consistency at the higher levels? Maybe - I can be swayed on
that. But a modular synth is NOT the same as just any mono-synth.
(Analogue) monosynths do not have init latched values. I guess if you're
trying to mimic a digital monosynth you might want a VOICE, but I can't
see how it would be anything but confusing when youre trying to implement
a monosynth model. There are also effects that might want to receive note
information, but wouldn't want (or expect) to have to deal with voices,
eg. pitch shift.
Isn't the easiest thing just to make the instrument declare wether its
polyphonic or not, if it is (NB it can have a polyphony of one) it will
receive VVIDs, if not, it wont.
- Steve