Caro veezbo. Sei un clarinettista. Mi potresti indicare o mandare alla mia mail la diteggiatura per clarinetto, oltre a quella indicata nel manuale sylphyo. Ti sarei molto grato se mi mandi le posizioni del clarinetto stantard, con le alterazioni, e le relative posizioni del sylphyo. Grazie mille. Mia mail: firstname.lastname@example.org
Ti saluto cordialmente.
@armando-bersani My font package is a "work in progress" ... a nice way of saying it is incomplete. The clarinet fingerings (and most other instruments) have yet to be implemented. An initial version of sax fingerings is in the v1.008 release.
The idea of the font package is to allow you to easily type finger diagrams in documents, web pages, etc. Some people do use a text-based approach ... such as <xxxx|xooo ... where the "<" indicates the mouthpiece and the "|" indicates the split between the upper and lower hand. However, a vector-based font such as TrueType or OpenType is much more appealing.
The initial v1.008 of the Sylphyo fonts was a trial put out for testing and comments. And I have had many good comments, some of which suggest a re-design of the entire font package.
In particular, there was a suggestion to use the advanced features of OpenType to actually allow someone to type <xxxx|xooo ... and have the font itself provide a substitution which would allow applications (those that implement those advanced OpenType features) automatically change that <xxxx|xooo into a single finger diagram from the font. As it stands now, you have to locate the correct Unicode code point and enter it by hand, which is lot of work.
There have been many other worthwhile suggestions (some of them above), the bulk of which expand the scope of this project (for me) significantly. I honestly have not had the impetus to undertake this larger project as we have been on the road for an extended trip (across Southern Europe - with the Sylphyo and a full recording rig - all worked beautifully!).
If people in this community are eager for this font project to move forward ... please make a note in this thread and it might provide encouragement for me to move forward with this project ...
I know the jitter problem you demonstrate in the audio example. It happens clearly on the lowest breath values. But as I learned with the Respiro Synth, we do not talk about values of 0-3 but rather about those values, where the instrument begins to respond. In a certain Respiro preset the point where the jitter happens (and the main sound comes up) follows the pitch of the note. In the upper octave (C4) it stutters at breath values 0-3. In the C3 octave it stutters around 6-9 and in the C2 octave this happens around 12-15. For physical modeling the moving trigger point is ok, because a lower flute tone needs more air. But the small jitter area right above each trigger point is a technical problem.
Just suppressing the lowest values, like suggested in the NI forum, helps only for sounds that trigger at zero. Not an universal solution. I don't have the technical knowledge to say if high-resolution MIDI would cure this or not. And how many synths support that? Respiro does. Kontakt does not, according to a forum post over there. What surely helps is to play with a volume pedal. Cheating, so to say. Maybe controlling the volume via the Sylphyo's elevation control and a custom volume curve in the synth.
Maybe I will try to feed high-resolution breath streams to various synths just to hear if the jitter problem remains.
Oops, we finally hijacked Paul Flute's thread. Sorry.
Should we continue here or start a new thread or could someone split this thread?
@mickglossop Normally the editor app shouldn't have any problems running from Mac OS X 10.9 up to the latest version. Please send us a mail at email@example.com with details on what you're experiencing with Catalina.
Typically, "Source 2" would allow you to make a secondary timbre appear, on top of the main sound you're playing. For instance, it could be a sub or bass (like in Resozen or Muta Flutes), or some harmonics or differently timbred sound that adds to the sound (like in Laraaji +)…
The name "Source 2" is deliberately generic because what's best as a secondary sound source is really different for each patch, as with "FX 1" and "FX 2".
However, this floor stand is not practical for me currently. We are on the road for 5 weeks now (across Europe from Portugal to Croatia). I've got all my stuff (Sylphyo gear and personal stuff) in a knapsack and a carry-on bag, so the floor stand is too bulky. I can't just stand my Sylphyo on end for fear of having it knocked over by hotel staff (or me!). So ...
@eponto Thank you for your feedback on the Anyma Phi. Let us know on here if you have any questions or additional feedback, we love hearing from our community!
Also very happy you like the piezo. What you can try if you want is set up a patch with the piezo as one input and use a regular oscillator as another input from a keyboard, so you can play both a melody on the keyboard (or run a sequence/arp) and at the same time play percussively with the piezo! There are tons of possibilities for experimentation.
@paul-flute Hi Paul, the Sylphyo does not contain the listed chemicals phtalates, DEHP or BPA. The Sylphyo body is made from ABS plastic with a V0 treatment for uninflammability. The mouthpiece is made from food-grade ABS plastic. The Sylphyo has also been approved by the FCC. You can find the documentation for this online.
It turned out to be not too difficult to find the mathematical explanation of the "vertical yaw" response. In fact it is sitting in plain sight in the standard expressions describing 3-dimensional spatial rotations. Indeed, the response is the sum of two terms, which could be send over separate MIDI channels.
@frank For now the majority of updates will be kept on the Kickstarter and Indiegogo campaign pages as they relate more to early backers. Once we have completed production and shipped to our early backers, we can start posting updates on here as well! Feel free to have a look at our updates on Indiegogo and Kickstarter!
For the record: the Sylphyo mentioned above was returned to Aodyo for a checkup. I got it back in March, and while the functional issues were solved, there was still a problem with the fit of the outer casing: the upper half of the bell doesn't quite match the bottom. Bax has sent me another Sylphyo as a replacement, which appears to work fine. It has the same problem with the bell though.
@peter-ostry My thinking is that I want to create as dry an atmosphere inside the airway to counteract any possible humidity that might have accumulated outside the airway (i.e. in the electronics area).
I do swab the airway with three oboe cloths after I play. I think (and it appears on inspection) that, after I swab, there is no significant visible moisture. In any case, if there are tiny droplets of liquid remaining, it does not appear that they will "drip off" - they are tiny, and there is a significant bevel at the foot end of the airway that would catch (and retain) any tiny water droplets.
Yes, I do not think the 5° tilt is needed! However, it has an appealing feel and does maybe add a bit of safety.
One concern I have is that there is a noticeable metallic, electronics aroma from the mouth of the Sylphyo. It seems to vary in strength based on how much I play it. Have others experienced this??
Another concern is that the internal airway of my Sylphyo does not appear to be "sealed". If I block the bell port completely and breath gently through the mouthpiece, air freely escapes ... to ?someplace?. It is not escaping from around the mouthpiece, so it must be going someplace in the body of the instrument.
In any case, this is not a major issue ... yet. I am taking these steps to avoid a potential issue down the line.
@peter-ostry These are placeholders! You can use them as you would the normal sounds or you can just ignore them. They get progressively replaced as we add new sounds to the Sylphyo and are essentially there to fill the empty slots. It can also be convenient when for example switching from sound 34 back to sound 1, you can just switch over to sound 36 instead.
Checked again and disabled the Sylphyo's movement CCs. Really cannot tell what is going on. Stuck notes, changing/losing the Sylphyo's internal sound (I mix with the Link's stereo input) and weird behavior overall. Turned everything off and on in different order – no change. Turned everything off, went back to direct MIDI connection and it worked fine.
Never mind. I believe some devilish ghost in a parallel universe prevents me from using USB hosts. A Keith McMillen host did not work here. A Kenton USB host didn't. Why should the Link do. I blame the ghost ;-)
In order to make as realistic a sound as possible, we've had to sacrifice a bit of expressivity in Flute Phi. This means that certain playing techniques such as staccato are restricted on that sound because of the difficulty of adapting the algorithms. We prioritised the realism over the expressivity.
In order to get a sound that will work better for these playing techniques, you can try out sound number 8 Chalumeau or maybe number 2 Daphnis Flute? Let me know how you get on with those!
We will of course do our best to improve this in the future and will let you know how this progresses.
@clint Thanks for all the technical details. For your concerns, I don't think you need to be worried unless you are being particularly harsh with your headphones and the Sylphyo! People have been using the Sylphyo for almost 6 years and we have had very very few complaints about the 1/8" connector or the USB port.