Harmonic mixing in Reaktor

I watched this

today, and it triggered me Couple years ago i read a book Mathemagical music and others. The idea to implement this ideas in mixer appeared immidiately. I want to discuss this ideas, may be someone already worked on similar staff or has ideas... Also, the second step, was my thought about perfectly tuned and synced synth which adopts to tonality and tempo. With microtuning...
I don`t feel myself so confident in Reaktor to build it alone, but may be something can help to get there faster

 

why would you give that piece of garbage, obvious date rapist, any attention

 

It is just to show, that NI use harmonic mixing. But the topic was more about how exactly we can implement it in Reaktor. Considering relation of pitch and tempo works and can give very good results. Look at "Mathemagical music" at bandcamp. Cannot post a link here.

 

Roman is it this? In searching of Mathemagical music the first link is dead - this is the second one.

There are some more by Indigo Aura.

 

yes

 

What the hell is wrong with you? Get out of here with your garbage.

Try again in a month. And that's the last try you are getting. If you cross the line again you are out for good

 

Roman in several of my buildings are Microtuning macros inside.

 

First practical question, can Reaktor detect tonality?

 

You want to build an fx >>> audio In >> microtunes >>> audio out?
I'm interested in your building.

 

I think about building a mixer, which will consider tonality and tempo....smart harmonic mixer... but now i try to understand what does it mean technically. With synth we have control over all... but in a case with external audio signal.... may be we can tune subs on a channel somehow?

I see it as a tuning mixer... actually... when we use eq, we have pretty typical EQ spots for some signals, being experienced i can work by numbers... but... pitch of a signal and harmonic distortion make this spots shift somehow...
What if we can calculate some critical spectrum spots, using information about tonality... or...f.e... we cut subs from signals, and replace it with some re-synth based sub gen to blend bass signals without low freq phasing hell...... i think, what actually can it be...real harmonic mixing...
And ok.. lets not detect tonality just set it on a channel... and probably we should set tonality in a master bus.. then.. it should alter all behavior of harmonic filters, eq...
If you tried Voxengo harmonic eq where filter alter harmonic series... we could smartly tune it automatically.. saturation...as harmonic filter also can be tuned...what else..
F.e if we have some odd synth signals which give nonconsonant result, such kind of a mixer can bring more consonance to it.

 

I like your Avatar.

For a start I've had a look at AutoBass, The Mouth, Lazerbass and one for not publication by Andrew. They've good handling for gate but nothing for pitch what you want. Next can be Prism fx?

Are you related with Aleksandr Smirnov from Novosibirsk?

 

No i`m not. Very common second name

 

Harmonic mixing is a step above matching keys. The new system in T3, besides detecting key (root/tonic) during analysis includes whether the third scale degree is major or minor. By tagging songs in the collection with key and the interval of the third scale degree, you can do 'harmonic mixing' which might allow for transitions that differ in key but also minimize dissonance. Which is great if you are matching Gregorian Chant or EDM but not Schoenberg or Weber.

Tonality can be open to interpretation and determined by a composer but it fundamentally involves probability. Selecting the right key can minimize sharps and flats in notation - which is easier to read, reproduce(print) and perform. But music itself (western bias here) often challenges simple tonality and uses it as yet another tool for tension and release.

T3 is not yet manipulating the third scale degree. It is simply telling you what root and 3rd is most probable and for this you must analyze a piece entirely or be comfortable analyzing some smaller moving window. There are some commercial tools that can do this however but they are not 'usually' live. https://www.zynaptiq.com/pitchmap/

The basic start is to approach a file or buffer and do frequency detection (zero crossings) or distribution (FFT). You have immediate artifacts without refinement such as octave and 5th ambiguity. After the analysis stage you have usually a re-tuning stage, with a table in between that stores tuning presets or as I prefer just the frequencies of equal temperament. You can use the difference between incoming frequency and the table to forward to the re-tuner whose method is variable (sample rate/granular). Most music is made with acoustic resonators and as a consistent feature produce frequencies across a harmonic series. Detecting 'correlations' across a series avoids crossing artifacts but takes a little more time. I can dig out my old ottotoon ensembles if interested.

 

Yes, please - and thanks.

 

You can't use PRISM fx for your project!

 

Now in the user library as Ottotoons...these are experimental from 2007!

 

Just dl it ... and want to place a link here - great

Ottotoons - Pitch Quantization Prototypes
https://www.native-instruments.com/de/reaktor-community/reaktor-user-library/entry/show/13113/

 

Jonathan, in your SY66 is an fx named 4FX.
The description told it's from Factory Library. I don't found it. Is it saved under a different name?

 

Hi Paule, hmmm that's weird. No, 4fx isn't from the factory library... I got it from Martijn Zwartjes and then extended and modded to be part of the modulation buss.

 

There's a bug in SY66.
Please choice Arp-Poly and step in Voice Cycle. There are two red cables and no audio output.