@d-healey Like I said it's not a HUGE requirement, I like to end some songs with a long fade guitar chord to transition into some other sections or whatever, I can always just max the Sustain and use volume automation before the amp :)

Another error related to this line:

var importedSamples = Sampler1.asSampler().importSamples([path], false);

Exception thrown: read access violation. std::_Atomic_address_as<long,std::_Atomic_padded<int> >(...) returned 0xFFFFFFFFFFFFFFFF.

This Atomic file is part of VS2022 so I'm in uncharted waters now I think 😲

@iamlamprey yes, loris calls into the function with a single argument containing the data object, so if you supply more arguments it will be ignored.

The lambda way would also work, but you cannot pass literal values (in this case the 440.0), but it needs to be a locally scoped variable.

Another option would be to use a variable outside of the function that you set to 440.0.

@orange we could also just make our own with the neural node 😉

@d-healey said in feedback needed :):

As you get higher the notes (even though they're the same) sound brighter.

Yeah this is something I wrestled with for a while, I tried using a single note and spanning it with Loris and catching the harsh frequencies with a dynamic EQ but it just didn't sound the same as sampling the higher string/fret

And obviously there is a huge difference between playing the open strings and playing the same note fretted.

A caveat with this is that (at least in my experience) bright strings are sought after in aggressive music as they help cut through dense mixes, open strings are a lot brighter so I've intentionally used the lower open samples as the "main samples" that take up most of the keyrange

finding a balance between brightness without it being too harsh on the higher notes was key

@orange said

You can use more user friendly general terms rather than using Waveguides and Residue.

Yeah this is definitely something I'm still battling with, I heard Alex Hormozi mention that the average american reads at a 3rd grade level so the writecopy should be fed to a literacy test algorithm. that being said, I think the average VI enthusiast isn't your typical customer, and they're generally more curious about the "story" of an instrument or piece of software, so I'm trying to find a copy that's easy enough to read, while still having some of that technical aspect

Plus "digital waveguide" sounds way cooler than "wavetable synth" 😎

They can download it after Newsletter Subscription.

There's a free tier for the Patreon which can essentially serve as a mailing list, the website needs to be Static to work with github pages, and there's a button inside the plugin to open the store page instantly so I'm trying to avoid "gatekeeping" the download behind a signup, I personally hate the friction and I'm trying to keep it as few steps as possible between discovering the instrument, and having it on the users HDD

I really appreciate the feedback guys! It's all going on the blackboard (btw I bought sticky blackboard paper for like $4 and it's the best investment I've ever made)

@iamlamprey

Ah I've been getting this too but I assumed I was doing something wrong.
Looks like a bug in that case.
I think Christoph is away so there is a bit of a pile up with bugs haha

@iamlamprey Okay there's already a method for it:

const bc = Engine.createBroadcaster({"component" : "myCoolFloatingTile", "event" : "All Callbacks"}); bc.attachToEqEvents("bc", ["BandAdded", "BandRemoved", "BandSelected"], {"id" : bc}); bc.addListener("", "update something", function(component, value) { Console.print("you just changed an EQ property!"); });

@Christoph-Hart Sweet 😊

@iamlamprey glad that worked out for you!

@iamlamprey said in Couple of Rhapsody Questions:

Roger that! Will the new boilerplate break instruments made with the previous version?

Yes, I make no attempt for backwards compatibility (ok that's not quite true, but I don't worry about it if I break it). However it only affects a project if you choose to update the boilerplate, there is no reason you can't stay on the previous version for existing projects. Also if you're just using the Rhapsody template and not the full boilerplate with the additional includes and modules it probably won't cause any issues (or it will be minimal).

@iamlamprey said in Couple of Rhapsody Questions:

the actual instrument isn't using any Loris methods

Then there should be no issues.

@iamlamprey said in Couple of Rhapsody Questions:

Very exciting, as much as I hate protools it's still quite a popular DAW

Yup I have no love for it either, but it seems like there is enough demand.

@d-healey said in Scriptnode Filters sound different in Ableton/Rhapsody:

Same sample rate in both?

yeh, i've resorted to using a regular lowpass w/ velocity modulator for the time being

Also 14 voices playing in HISE, only 4 in Rhapsody.

actually I think that might be a bug, my voice count in Ableton jumps around randomly, and sometimes goes to like -237, I thought it was the Wavetable synth wigging out but I've since switched to samplers and it still happens

Not sure what you're doing wrong, but the Synth.setFixNoteOnAfterNoteOff() is precisely for this use case and should work like in this example that delays note ons by a second and prevents hanging notes if you press the key shorter than a second.

HiseSnippet 910.3oc2V0saaaCElx1pX1cqncnnnWJLrKbAJJraS6FvtnIwwtvX0IFQo+bWAC0QwDghTihxsFE6cbOJ8MX6PJ6JoFiTGitUr5KLz4OxOdNemC4TshAYYJMwq8IKRAh226GtPZlMXFkKIiOf3cC+IzLCnCJTs+hTZVFDQ77Z9LqBu1sHtee3o6SETICJUQHuTwYvy4IbSo1o696bgXDMBNgmTw6c1cLSIGnDpbDOM86QRoryomAGRst0vm3csgQbiRGZnFHC8YeUzhvYp2JK7+k7L9oBvJzmDhKTgZxfYbQzzUm0LBwyeZ4IuYwI+19S3Q7OpuLCbSmgfxHplC7ZbYPp+U.RdUfTqBHcK+PllmZJsXwy08GKwBRLES0UgRgujF+jm+.E5gz7fD54vHMJ7wH59jd8te.9289sNtJ8ChfXPOfJDmhY6rtwTQFfF6rzbFXFwe2gJCbjbuXbUbeFG20nys9EmKYFtRFnjEN08dcdem1SP7hkNb0EzECmifo6N6z2sss67mcB9zvvEzE2mXydPzJg.zq0rk.our.6JySNEz2OXNUfvckiXFtdY6ZaVYiUjWq3nRNVxMGkBKkGoDQ1xg86KVjIKKL3WuX7ATC0V2WpC8KEzFtENdG.ywFmBVPa+CfryMpTr04BTDjbphxETScFqs0boALeTilXoBxLtYQ0V2q.Mt2kRi2THdK+obCa15wXi0fQLS8uAFW17+C9CiiAloDfs7G85ssSey29aTr8W2OjKAWCmayuiSN3Uz4Pvy.InsIu9Wxv2+ZSG9ltwCeOhYvs+DMUlkpxpsvgPB+DkzlEJU9hLbTC7GGaqlU0OPQ0q0zGd5H7Pt1XBolbsiVrWhJWZpQCZVuNzZyZcq2QTw+0LJt0WgaG9xzV8Uryu1EXsWgwPdRp.FJmCBb7lCi+HNOKllKLqzVmXOQIUoyTRNqZU+Xvn4mcFnqh80df1yXvKxJ0b6cOFD.sJC9m284Hyipw7Drk4hq9k4qsdcW+B3FX6FC9+6D6leaOw9XUtgKOaBEIguCe83g4Ig3fRFf6tTBBbw88ZXG1UH2yJWLoTF4D9a72Ri8sxdKM1ekw+S1iDJSqdCq3sQVd524zfmao6M1swG6ixA8It2KUsVlfS4dCiUeotPfObaC7Qaaf6rsA93sMvmrsA9Kaaf+5mOP6kP6kaTIEslDxjoCcOvzyanjhrbWGA4e.vLdxN.

@Lindon yeh my attack & release samples are in their own samplers with their own processing, i'm avoiding synthGroups because i need individual midiProcessors

mind you, i haven't tried this technique for anything except picked guitars/bass, it SHOULD translate to percussion (glocks, marimbas, things like djembes etc) and maybe piano, but im not sure how well it would go for brass/strings without adding a more complex multi-dimensional setup :man_shrugging:

@d-healey I just realized a pretty decent workaround is to assign relevant GUI parameters to CC messages, that way the end user can also right-click and bind/unbind whatever they want for automation AND if you stick to conventional CC (like assigning Attack to CC73), most workstations will label them automatically.

@iamlamprey I think with release triggers it will just work like a one shot sample.

@harris-rosendahl I haven't opened the project for a while but I think I've changed it to just regular RR's with individual samples, see this thread:

https://forum.hise.audio/topic/9403/neatbrain-writeup?_=1727086798982

which has a bit more info about the full process 🙂

the main technique is calculating the length of a full cycle and using that as the parameters for Sample Looping, from there you can just make use of the Sampler as normal (RRs, groups etc) and don't have to think about all the experimental crap I was doing here