I just spent the afternoon trying to achieve this effect, with little success. Here is what I've been thinking, hopefully someone knows where I am going wrong, or has some information they can share on the matter.
There needs to be a fade-in of the spectral envelope applied to signal 1, ranging from all the fft bins equal to 1 when signal 2 is not to be heard to the fft magnitude of signal 2 (which is what the timbre.stamp.pd patch does) when the two are to be cross-synthesized. If the fade is supposed to go all the way until only signal 2 is heard, then the spectral envelope fade needs to be switched to apply to signal 1.
Is there an easier way to do it? My attempt (attached) at doing only the first part (fading in the spectral envelope of signal 2 applied to signal 1) barely sounds more than a regular crossfade until the regular timbre stamping happens when the fade-in goes to 1. What I'd like to have is something that took more of it's 'timbre' from one signal than the other, and be able to fade this amount continuously.
regards
rich
Kevin McCoy a écrit :
> Oh shoot... can you explain that more? I understand convolution in
> reverb but how might that work in a crossfader?
>
> km
>
>> Why granular? Why not a convoluting crossfader rather?
>>
The idea is about filtering one track with the spectral enveloppe of
the other one, and vice-versa,
The crossfade would pass progressively from one track to another, but
instead of having mixed tracks
at the center, there would have the convolution between the tracks:
There is a bad side, because this kind of effect can only affect the
filtered sound in real time.
There is an approach of this in I06.Timbre.stamp.pd
PC.
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