thank you so much for the feedback, that is so important for figuring out the direction in which I should steer this voice. I’m glad you like it
Chords: I think it might be a bit difficult to do generic chords just with the partials, but it should be possible to do a major chord by setting stretch to 1.0 (perfect harmonic series) and selecting the partials with indexes 3,4 and 5 that are, respectively (and approximately) a major fifth, the fundamental and a major third ( https://en.wikipedia.org/wiki/Harmonic_series_(music) ) . You might be able to remove the first two with a very steep High-Pass “filter” (which is actually an amplitude scheme for the partials), a very steep slope (that I should probably rename as “mildness”, set at just 1) and the CTRL 4 set at about 40%, and using only 5 partials in total. For actual chords that make fully use of additive synthesis, and I mean each one with his independent set of partials, we have to wait until I implemented the MIDI feature
Amplitude schemes, or “filters”: these are actually really not frequency filters, because what they do is giving a different amplitude to each partial, and this can be evident while using a frequency-rich waveform for the partials, such as a square wave. N is indeed a notch filter. The slope of LP, HP, BP and N is linear: just a straight line making a triangle with width set with the Slp parameter (that I really should rename to “mildness”) of amplitudes from 100% of the cutoff point to 0% of cutoff+Slp. This is if it’s LP. With HP it’s the opposite, a triangle that goes from 0% to 100%, while with BP it’s from 100% to 0% at the cutoff point and then back with another triangle to 100%. Now the total size of the notch is Slp, but it should probably changed to Slp*2. I think I need to make some graphics in the doc to illustrate the functioning.
EX is weird, and it was my first experiment with amplitude schemes, basically if the “cutoff” is all on the left, then it’s 1/i where i is the partial index (I thought it was exponential decay but it’s not, so I should rename it with RE of reciprocal). When the cutoff knob is all on the right then the order of the amplitudes is reversed. Every position in the middle is a weighted average of the two situations.
For the bugs, yes, I still need to figure out how to make it glitch less. I suspect there might be some problem with very low frequences, as well when you select a lot of partials (more than 38 usually is not very good for sine waves, while triangles and squares can arrive up to 80 and beyond). I left to the user the freedom of getting to risky settings, and the exclamation point that is visible in these situations should serve as a warning
The functioning of the encoder is still quite a mistery for me, I didn’t really understand where the internal flag that it has changed is set and how and it seems to get wrongly cleared while the daisy is under heavy load. Eventually I will figure this out
I’m really happy that you like the sound , thank you so much for the feedback, that is extremely valuable