I'm just commenting at 1:10. The other way of demonstrating this is to have a midi instrument (e.g. Zebrify or something modular like Cardinal) with audio signal in, and stick the audio through a resonant bandpass filter whose frequency is determined by midi notes.
The other thing (now at 2:35) is that by taking a signal from a pitched instrument as your modulator, you basically have a bunch of bandpass filters whose relationship is a harmonic one. When the modulator's spectrum isn't harmonic, I don't think things are as 'melodic' as you are making out at this point. And most practical EQing will target frequencies in a way that those frequencies are not harmonically related.
And the most extreme example while talking of filters, is a self-oscillating filter on e.g. a Moog, if its frequency is controlled by note pitches. Then you get a sine wave out of the filter which has nothing at all to do with the signal going into it.
Another remark before I continue watching, is that if you consider an instrument such as a flute, it basically takes a source of noise and sharply filters out everything but frequencies harmonically related to the length of the air column. Similar arguments can be made for how most non-digital pitched instruments make their pitched sounds: the vibrating string, fixed at both ends, rapidly filters out frequencies whose wavelengths don't fit exactly into the length of the string. Electronic oscillators often use resonance in one form or another to generate an output of a specific frequency.
This also borders on the whole idea of subtractive synthesis: you start with a sound source with a rich frequency spectrum, and then filter out the bits you don't want. (This is why if you read e.g. Dodge's Computer Music book, which dates to how stuff was done in academia before popular music discovered synths and digital audio: you'll see them talking of starting with a narrow pulse wave as this contains all harmonics at roughly the same level.)
I'm not sure it was the intention, but you've given me food for thought on the writing front. Fun vid.
That's good news!
Amazing - it's going to take me a few days to get my head around this one!
Aye, it's more weirdness, lol.
I'm just commenting at 1:10. The other way of demonstrating this is to have a midi instrument (e.g. Zebrify or something modular like Cardinal) with audio signal in, and stick the audio through a resonant bandpass filter whose frequency is determined by midi notes.
The other thing (now at 2:35) is that by taking a signal from a pitched instrument as your modulator, you basically have a bunch of bandpass filters whose relationship is a harmonic one. When the modulator's spectrum isn't harmonic, I don't think things are as 'melodic' as you are making out at this point. And most practical EQing will target frequencies in a way that those frequencies are not harmonically related.
And the most extreme example while talking of filters, is a self-oscillating filter on e.g. a Moog, if its frequency is controlled by note pitches. Then you get a sine wave out of the filter which has nothing at all to do with the signal going into it.
Another remark before I continue watching, is that if you consider an instrument such as a flute, it basically takes a source of noise and sharply filters out everything but frequencies harmonically related to the length of the air column. Similar arguments can be made for how most non-digital pitched instruments make their pitched sounds: the vibrating string, fixed at both ends, rapidly filters out frequencies whose wavelengths don't fit exactly into the length of the string. Electronic oscillators often use resonance in one form or another to generate an output of a specific frequency.
This also borders on the whole idea of subtractive synthesis: you start with a sound source with a rich frequency spectrum, and then filter out the bits you don't want. (This is why if you read e.g. Dodge's Computer Music book, which dates to how stuff was done in academia before popular music discovered synths and digital audio: you'll see them talking of starting with a narrow pulse wave as this contains all harmonics at roughly the same level.)
Bro, Happy new year.
Odi! You too, mate!
Great vid!! Much ❤️ Steve!!
Thanks, Chuck!
@@stevesrecordingtips7247 welcome
Final thought: vowels are EQ settings.
Very true.