11 Mar
2016
11 Mar
'16
10:02 p.m.
"I want a program
that exposes what's different about mix A from mix B, not just in
frequency spread, but also over time, and with regard to stereo field."
Well I'll not dare diving into the perceptual dimension of this problem.
The only thing I can say is that there are definitely visual
representations that will help you to better understand what's going on in
a sound or between two similar sounds. It's never gonna be 100% correlated
to perception. Though, while it is more correlated than the waveform's
shape, this will help ... The STFT is going towards this direction and I
think there are many other tools that will help (wavelets, reassignment,
phase variance, FM-demodulated STFT, etc.)
Concerning DFasma, I started to code the FM-demodulated STFT, I plan to add
also the reassignment. Additionnally, I'll add some spectral envelope
estimation methods (first in the amplitude spectrum view, then in a
spectrogram-like view).
Cheers,
Gilles
On Fri, Mar 11, 2016 at 4:52 PM, Brent Busby <brent(a)keycorner.org> wrote:
Ralf Mardorf <ralf.mardorf(a)alice-dsl.net>
writes:
--
Mobile: +44 79 23 28 22 59
take a look at painted colors in the way Josef
Albers did by his
"Interaction of Color".
Take a look at the same blue square on a green and orange background.
Assumed software should give each colour an unique sinus frequency, you
could hear three different sinus tones. One for the green, one for
the orange and one for the blue, but for the brain the blue that is
equal on the green and on the red background, seems to be two different
shades of blue. This might also be the case of the impression of two
mixed sinus tones, but your understanding of the painted colors wont
become more objective by listening to the sound.
There is nothing crucial for the overall effect you could analyse
by objective, measurable values. That's why there is not one valid
color theory, there are several color theories and even if only one
valid color theory would exist, it can't give an ultimate answer to
overall effects of complex paintings, in combination with different
compositions of similar paintings, let alone for comparison of
completely different paintings from different cultures.
If a sound analysis done by software of Arnold Böcklin's different
versions of his "Isle of the Dead" would provide you different tone
combinations, it would be harder to determine the impression of the
painting by the sound, then by taking a look at the paintings.
[...]
That makes sense. I'm still not quite ready to raise the white flag of
defeat though. Over many years, developers of image processing programs
have made those programs aware of gamut. It's gotten fairly complicated
in some ways, but programs like Photoshop now pride themselves in it.
Even if it ends up being way more than just a simple fourier transform
analysis, I'm still convinced that you could make some kind of tool that
would be able to tell you something visually about what's happening in a
mix. Sonic Visualiser is in the right direction, but I'm still
convinced that you could do more.
--
- Brent Busby + ===============================================
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-- Keycorner -- + sites, computers are making people
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