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一个人能够提供我有关节目制作乐器的信息。例如,见。 (Smule s Ocarina对i)。

我将找到关于这一问题的充分信息。与 o西纳相比,如何制作个人说明? 由于这些结果基于呼吸的强度,而哪些“漏洞”被缩小,因此有些结果必须按方案处理,但究竟是整个方案生成的,还是使用背端的正确样本并修改(或如果使用多个样本的话)?

是否有这方面的资源? 我的所有搜索都提供了关于如何进行音乐(合理的标准音频)或如何制作音乐(音乐编辑软件)的信息,但没有人了解如何做该录像中显示的内容。

答复必须严格地与占领有关,但如果是的话,我会 t。

Answer 1

这种特殊音乐仪器像它一样,对我来说是一种相当简单的综合模块,它或许以平方波或调频为基础,并贴上反制过滤器。因此,我猜测,它有条不紊地产生了良好的一切。如果你打算建立其中一项文书,那么如果你愿意,你可以使用一套样本作为你的基础。还有一个可能性是,我会提及以下方式。

http://www.un.org/Depts/DGACM/index_french.htm 呼吸器投入通常转化为对输入麦克风的空气压力值。可以通过使用少量输入信号和计算每个空白的顶峰或区域监测系统来做到这一点。我更喜欢采用类似办法计算的皇家警察部队:

int BUFFER_SIZE = 1024; // just for purposes of this example
float buffer[BUFFER_SIZE]; // 1 channel of float samples between -1.0 and 1.0
float rms = 0.0f;
for (int i=0; i<BUFFER_SIZE; ++i) {
    rms += buffer[i]*buffer[i];
}
rms = sqrt(rms/BUFFER_SIZE);

在MIDI,这一数值通常在CCC2频道上传送,价值在0至127之间。然后,这一数值用于持续控制产品质量。 (单位:千美元) 我把这一价值称为C2。

本案的主要新闻可能只是直接根据它们相应的说明绘制的。然后,这些说明活动将作为新的说明活动送交该文书。我不认为那里有任何模仿。

其他形式的控制: Ocarina仪器使用Pi的斜线控制冲绳的频率和量。这通常仅以低频振荡器(LFO)为模型,该推导器的规模、抵消和乘以了您仪器其余部分的产出,以产生挥发性量效应。也可以用来控制贵仪器的itch虫,造成itch虫波动。 (如果你重新使用样本,这很难做到正确,但如果你重新使用波形,则比较容易。) 租赁 MIDI风力控制器还跟踪 f力压力和冲锋枪压力,并能够把这些压力作为参数,使你能够形成你的声音。

Breath instruments 201: 有些人在呼吸控制器控制下,试图使声音更加清晰:

Make sure that your output is only playing one note at a time; switching to a new note automatically ends the previous note.
Make sure that the volume from the old note to the new note remains smooth if the breath pressure is constant and the key presses are connected. This allows you to distinguish between legato playing and detached playing.

Breath instruments 301: 那么,我们就走到了un子上:如何模拟过度.、mbre变、部分inger等,就像真正的风力工具一样。我可以在此考虑几种办法:

Mix in the sound of the breath input itself, perhaps filtered in some way, to impart a natural chiff or breathiness to your sound.

Use crossfading between velocity layers to transform the sound at high velocities into an entirely different sound. In other words, you literally fade out the old sound while you re fading in the new sound; they re playing the same pitch, but the new tonal characteristics of the new sound will make themselves gradually apparent.

Use a complex sound with plenty of high-frequency components. Hook up a low-pass filter whose cutoff frequency is controlled by CC2. Have the cutoff frequency increase as the value of CC2 increases. This can increase the high frequency content in an interesting way as you blow harder on the input.

The hard-core way to do this is called physical modeling. It involves creating a detailed mathematical model of the physical behavior of the instrument you re trying to emulate. Doing this can give you a quite realistic overblowing effect, and it can capture many subtle effects of how the breath input and fingering shape the sound. There s a quick overview of this approach at Princeton s Sound Lab and a sample instrument to poke at in the STK C++ library – but be warned, it s not for the mathematically faint of heart!

Answer 2

首先,我不清楚你的问题是什么。

有许多类型的健全综合。我知道:

Frequency Modulation
Oscillation Wave
Table (sample based)

闪电非常简单,很可能是起步的地方。如果你在440赫兹产生平方波,你有“A”或更具体地说是中A。

这种简单的综合确实是很 f和容易做到的。也许你可以开始为PC发言者作一个简单的总结。奥赫,但我不知道所有顾问是否允许你进入。法律援助协会有一些好的例子。铁ux和铁矿石的精度很多,可以开始。您不妨对开端者的测深:。 http://www.c sounds.com/ Chapter1/index.html。

我与它一起玩 ,有两条玉米yn。

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