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?
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 ...
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.
@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.
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 ;-)
@steviek Hello! You need to change the buffer size in Logic Pro and Mainstage. Set it as low as possible so that you don't get any CPU overload and reduce the latency.
If you have a powerful computer you can get away with settings like 64 or even 32. If you also reduce the sampling rate (down to something like 44.1khz) that should also help with latency as you will then be able to reduce the buffer size.
A discovery I made about 40 years ago is that it works really, really well to use a longer reaction time for any interval that involves a register key. It doesn’t seem to hinder performance significantly — presumably, as woodwind players we learn to anticipate the extra delay.
I think your fingering chart has some really good ideas in it.
Especially Rule 6: Raising the L1 for higher octaves would faciliate the work of the left thumb on the octave keys greatly (lifting/shifting). This should also work for the whistle fingering, or?
Hi Bernard, the XpressO and the Roland as inprinciple the same age: they both use samples. The Vl70 uses mathematical models of the instruments, wwhich means they react the same as the akoustic instrument. Like on the real instrument, when you blow to hard is overblows, generates the same overtones, so sounds more realistic. The learning phase is also a bit more than compared to a sample instrument..
Though rather old, people still come to check wat synth i used for some sounds..
I've also had my share of "what's that thing" and improvised 30-second demos for airport security officers :), but I never had any issue, be it with our without a case. As it contains a battery, you need to take it in cabin.
I also fly with some of our weirdest electronics prototypes without their enclosure and with wires everywhere, but it hasn't raised any concern so far.