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Groove Synthesis 3rd Wave: read and write unified programs and multi-sample slots - #478
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The oscillators of the 3rd Wave play sample slots (S00, S01, ...), which hold up to 8 mono samples, each with its key range around an assigned note, fine tuning, volume, play range and loop. The device stores a slot as a multi-sample file (*.bin) and a program together with the slots and wavetables it uses as a unified program file (*.pgdata). Reading takes the multi-sample files (versions 1, 4 and 5) and the sample slots of unified program files. Each slot becomes a multi-sample; key range, assigned note, fine tuning, volume, play range and the loop with its cross-fade are read, 'looping on when note on' as a loop which ends at the release of the note. The settings of the program are not converted. Writing creates multi-sample files for 'Import multisample' and 'Bulk multisample import'. Samples which do not fit into one slot - more than 8, layered samples like velocity layers or round robins, or more than the sample memory - are written as further, numbered slots. The samples become 16 bit mono with 10 to 48 kHz; a looped sample outside of that range is converted together with its loop, for which AbstractCreator#recalculateSamplePositions got a variant which takes a range of sample rates. Coarse tuning moves the assigned note, the key range is limited to two octaves around it and the gain is applied to the audio, up to its peak level, since the format has no volume. Tested with the files of the manufacturer: the 45 programs of the sample library and the 19 unified programs of the factory banks are read to their exact end (88 slots, 378 samples), as are the six multi-sample files of the OS 1.8 sample presets; the version 4 file among them is written back byte-identical. Written as multi-sample files, all 270 samples of the sample library keep audio, play range, loop, key range and tuning, except for 31 equal-power cross-fades (written as equal volume), five 12 bit settings and one key range beyond two octaves. The written files are not yet verified on hardware.
A multi-sample file needs to be imported into a sample slot and a program has to be set up to play it. A unified program file carries a program together with the samples it plays and loads with a single import, the way the sample library of the manufacturer is distributed. It is now the default output; the multi-sample files remain available with the new 'Output' option (-p ThirdWaveOutputFormat=bin). The program is the init program of the instrument, stored as a resource in the program file format of the instrument. Part N plays sample slot N with its first oscillator at full level, its other oscillators are silent. A multi-sample with more than 8 samples is split into up to 4 slots and the parts split the keyboard between them. Velocity layers and round robins cannot be played by a program, only the first layer is written. The samples store their gain as their volume (up to +6 dB) instead of applying it to the audio. A program whose samples do not fit into the sample memory of the device is not written. Written as programs, the 65 slots of the sample library of the manufacturer keep the audio, volume, play range, loop, key range and tuning of all 270 samples, except for one key range beyond two octaves; read back, the written programs differ from the init program only in their oscillators and the split of the keyboard. The written files are not yet verified on hardware.
… to parts A unified program file is now read as one multi-sample which plays like the program: each oscillator of a part which plays a sample slot becomes a group with the level (oscillator level x part volume), panning and tuning (coarse and fine tuning of the oscillator plus the fine tuning of the part) of its part, on the keys of the keyboard sections which the part plays, shifted by the transposition of its keyboard. Stereo programs (two parts panned to both sides), split programs and layered programs therefore arrive as one instrument instead of one multi-sample per slot. An oscillator which does not follow the keyboard plays its samples at a fixed pitch. A slot of which the program does not play all samples is read on its own as well; a program whose parameters have an unknown layout is read as its slots. When a program is written, samples which play at the same time get parts of their own: the two channels of a stereo sample, panned to both sides, or a second sound on the same keys. A part gets the tuning which most of its samples share on its oscillator and the level of its loudest sample on the oscillator level and the part volume, so gains up to +10.6 dB leave the audio unchanged. Samples are grouped by their tuning as well if their assigned notes cannot take the difference. Parts whose slots hold the same samples share one slot, and a layer whose slots split the keyboard at other notes than the main layer plays all sections which its samples reach. Velocity layers and round robins are still reduced to the loudest layer and the first round. All 64 stock programs, read as instruments, written as programs and read back, play the same on every key except for the two-octave key range of one stock sample and one oscillator with a fixed pitch; the 18 layered programs of the sample library also keep what every key plays through SFZ and DecentSampler.
… program One part of 'Hanger Drums and FM' is tuned by +36.93 semi-tones, which the SFZ reader limits to 36 when the written preset is read back.
…hen parts run out Samples which play the same audio in the same way on the same keys, e.g. a layer which a preset doubles, are written as one sample with the sum of their volumes: they sound the same and need one part instead of two. If the samples of a program still need more than its 4 parts, the parts are given layer by layer - the first voice of each panning, then the second one of each. In a layer, voices which are panned to both sides by the same amount, e.g. the two channels of a stereo sample, come first and get their slots together from the lowest one on, so both sides keep the same keys. Before, the voices got parts in the order of their panning, so the right channel of a stereo layer was the first to be left out. A TAL-Sampler preset with a doubled layer on each side and two centred sounds needed 7 parts and kept only the left side; it now needs 5 and keeps the left and the right layer and both centred sounds.
…ram files The multi-sample files end with .bin, which many devices use, e.g. the pad configuration of the Roland SP-404MK2 (PADCONF.BIN): picking such a file selected the 3rd Wave as the source format. The format list and the selection of the format by the ending of a picked file now use .pgdata, the unified program files in which Groove Synthesis distributes its sample library. The .bin files are read as before, from a folder and as a picked file while the 3rd Wave is selected.
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…sample slots (#478) * Groove Synthesis 3rd Wave: read and write the sample slots The oscillators of the 3rd Wave play sample slots (S00, S01, ...), which hold up to 8 mono samples, each with its key range around an assigned note, fine tuning, volume, play range and loop. The device stores a slot as a multi-sample file (*.bin) and a program together with the slots and wavetables it uses as a unified program file (*.pgdata). Reading takes the multi-sample files (versions 1, 4 and 5) and the sample slots of unified program files. Each slot becomes a multi-sample; key range, assigned note, fine tuning, volume, play range and the loop with its cross-fade are read, 'looping on when note on' as a loop which ends at the release of the note. The settings of the program are not converted. Writing creates multi-sample files for 'Import multisample' and 'Bulk multisample import'. Samples which do not fit into one slot - more than 8, layered samples like velocity layers or round robins, or more than the sample memory - are written as further, numbered slots. The samples become 16 bit mono with 10 to 48 kHz; a looped sample outside of that range is converted together with its loop, for which AbstractCreator#recalculateSamplePositions got a variant which takes a range of sample rates. Coarse tuning moves the assigned note, the key range is limited to two octaves around it and the gain is applied to the audio, up to its peak level, since the format has no volume. Tested with the files of the manufacturer: the 45 programs of the sample library and the 19 unified programs of the factory banks are read to their exact end (88 slots, 378 samples), as are the six multi-sample files of the OS 1.8 sample presets; the version 4 file among them is written back byte-identical. Written as multi-sample files, all 270 samples of the sample library keep audio, play range, loop, key range and tuning, except for 31 equal-power cross-fades (written as equal volume), five 12 bit settings and one key range beyond two octaves. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: write unified program files A multi-sample file needs to be imported into a sample slot and a program has to be set up to play it. A unified program file carries a program together with the samples it plays and loads with a single import, the way the sample library of the manufacturer is distributed. It is now the default output; the multi-sample files remain available with the new 'Output' option (-p ThirdWaveOutputFormat=bin). The program is the init program of the instrument, stored as a resource in the program file format of the instrument. Part N plays sample slot N with its first oscillator at full level, its other oscillators are silent. A multi-sample with more than 8 samples is split into up to 4 slots and the parts split the keyboard between them. Velocity layers and round robins cannot be played by a program, only the first layer is written. The samples store their gain as their volume (up to +6 dB) instead of applying it to the audio. A program whose samples do not fit into the sample memory of the device is not written. Written as programs, the 65 slots of the sample library of the manufacturer keep the audio, volume, play range, loop, key range and tuning of all 270 samples, except for one key range beyond two octaves; read back, the written programs differ from the init program only in their oscillators and the split of the keyboard. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: read programs as instruments, write layers to parts A unified program file is now read as one multi-sample which plays like the program: each oscillator of a part which plays a sample slot becomes a group with the level (oscillator level x part volume), panning and tuning (coarse and fine tuning of the oscillator plus the fine tuning of the part) of its part, on the keys of the keyboard sections which the part plays, shifted by the transposition of its keyboard. Stereo programs (two parts panned to both sides), split programs and layered programs therefore arrive as one instrument instead of one multi-sample per slot. An oscillator which does not follow the keyboard plays its samples at a fixed pitch. A slot of which the program does not play all samples is read on its own as well; a program whose parameters have an unknown layout is read as its slots. When a program is written, samples which play at the same time get parts of their own: the two channels of a stereo sample, panned to both sides, or a second sound on the same keys. A part gets the tuning which most of its samples share on its oscillator and the level of its loudest sample on the oscillator level and the part volume, so gains up to +10.6 dB leave the audio unchanged. Samples are grouped by their tuning as well if their assigned notes cannot take the difference. Parts whose slots hold the same samples share one slot, and a layer whose slots split the keyboard at other notes than the main layer plays all sections which its samples reach. Velocity layers and round robins are still reduced to the loudest layer and the first round. All 64 stock programs, read as instruments, written as programs and read back, play the same on every key except for the two-octave key range of one stock sample and one oscillator with a fixed pitch; the 18 layered programs of the sample library also keep what every key plays through SFZ and DecentSampler. * Groove Synthesis 3rd Wave: design document, the SFZ round trip of one program One part of 'Hanger Drums and FM' is tuned by +36.93 semi-tones, which the SFZ reader limits to 36 when the written preset is read back. * Groove Synthesis 3rd Wave: combine doubled samples, keep both sides when parts run out Samples which play the same audio in the same way on the same keys, e.g. a layer which a preset doubles, are written as one sample with the sum of their volumes: they sound the same and need one part instead of two. If the samples of a program still need more than its 4 parts, the parts are given layer by layer - the first voice of each panning, then the second one of each. In a layer, voices which are panned to both sides by the same amount, e.g. the two channels of a stereo sample, come first and get their slots together from the lowest one on, so both sides keep the same keys. Before, the voices got parts in the order of their panning, so the right channel of a stereo layer was the first to be left out. A TAL-Sampler preset with a doubled layer on each side and two centred sounds needed 7 parts and kept only the left side; it now needs 5 and keeps the left and the right layer and both centred sounds. * Groove Synthesis 3rd Wave: the format is selected by the unified program files The multi-sample files end with .bin, which many devices use, e.g. the pad configuration of the Roland SP-404MK2 (PADCONF.BIN): picking such a file selected the 3rd Wave as the source format. The format list and the selection of the format by the ending of a picked file now use .pgdata, the unified program files in which Groove Synthesis distributes its sample library. The .bin files are read as before, from a folder and as a picked file while the 3rd Wave is selected. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com>
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…sample slots (#478) * Groove Synthesis 3rd Wave: read and write the sample slots The oscillators of the 3rd Wave play sample slots (S00, S01, ...), which hold up to 8 mono samples, each with its key range around an assigned note, fine tuning, volume, play range and loop. The device stores a slot as a multi-sample file (*.bin) and a program together with the slots and wavetables it uses as a unified program file (*.pgdata). Reading takes the multi-sample files (versions 1, 4 and 5) and the sample slots of unified program files. Each slot becomes a multi-sample; key range, assigned note, fine tuning, volume, play range and the loop with its cross-fade are read, 'looping on when note on' as a loop which ends at the release of the note. The settings of the program are not converted. Writing creates multi-sample files for 'Import multisample' and 'Bulk multisample import'. Samples which do not fit into one slot - more than 8, layered samples like velocity layers or round robins, or more than the sample memory - are written as further, numbered slots. The samples become 16 bit mono with 10 to 48 kHz; a looped sample outside of that range is converted together with its loop, for which AbstractCreator#recalculateSamplePositions got a variant which takes a range of sample rates. Coarse tuning moves the assigned note, the key range is limited to two octaves around it and the gain is applied to the audio, up to its peak level, since the format has no volume. Tested with the files of the manufacturer: the 45 programs of the sample library and the 19 unified programs of the factory banks are read to their exact end (88 slots, 378 samples), as are the six multi-sample files of the OS 1.8 sample presets; the version 4 file among them is written back byte-identical. Written as multi-sample files, all 270 samples of the sample library keep audio, play range, loop, key range and tuning, except for 31 equal-power cross-fades (written as equal volume), five 12 bit settings and one key range beyond two octaves. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: write unified program files A multi-sample file needs to be imported into a sample slot and a program has to be set up to play it. A unified program file carries a program together with the samples it plays and loads with a single import, the way the sample library of the manufacturer is distributed. It is now the default output; the multi-sample files remain available with the new 'Output' option (-p ThirdWaveOutputFormat=bin). The program is the init program of the instrument, stored as a resource in the program file format of the instrument. Part N plays sample slot N with its first oscillator at full level, its other oscillators are silent. A multi-sample with more than 8 samples is split into up to 4 slots and the parts split the keyboard between them. Velocity layers and round robins cannot be played by a program, only the first layer is written. The samples store their gain as their volume (up to +6 dB) instead of applying it to the audio. A program whose samples do not fit into the sample memory of the device is not written. Written as programs, the 65 slots of the sample library of the manufacturer keep the audio, volume, play range, loop, key range and tuning of all 270 samples, except for one key range beyond two octaves; read back, the written programs differ from the init program only in their oscillators and the split of the keyboard. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: read programs as instruments, write layers to parts A unified program file is now read as one multi-sample which plays like the program: each oscillator of a part which plays a sample slot becomes a group with the level (oscillator level x part volume), panning and tuning (coarse and fine tuning of the oscillator plus the fine tuning of the part) of its part, on the keys of the keyboard sections which the part plays, shifted by the transposition of its keyboard. Stereo programs (two parts panned to both sides), split programs and layered programs therefore arrive as one instrument instead of one multi-sample per slot. An oscillator which does not follow the keyboard plays its samples at a fixed pitch. A slot of which the program does not play all samples is read on its own as well; a program whose parameters have an unknown layout is read as its slots. When a program is written, samples which play at the same time get parts of their own: the two channels of a stereo sample, panned to both sides, or a second sound on the same keys. A part gets the tuning which most of its samples share on its oscillator and the level of its loudest sample on the oscillator level and the part volume, so gains up to +10.6 dB leave the audio unchanged. Samples are grouped by their tuning as well if their assigned notes cannot take the difference. Parts whose slots hold the same samples share one slot, and a layer whose slots split the keyboard at other notes than the main layer plays all sections which its samples reach. Velocity layers and round robins are still reduced to the loudest layer and the first round. All 64 stock programs, read as instruments, written as programs and read back, play the same on every key except for the two-octave key range of one stock sample and one oscillator with a fixed pitch; the 18 layered programs of the sample library also keep what every key plays through SFZ and DecentSampler. * Groove Synthesis 3rd Wave: design document, the SFZ round trip of one program One part of 'Hanger Drums and FM' is tuned by +36.93 semi-tones, which the SFZ reader limits to 36 when the written preset is read back. * Groove Synthesis 3rd Wave: combine doubled samples, keep both sides when parts run out Samples which play the same audio in the same way on the same keys, e.g. a layer which a preset doubles, are written as one sample with the sum of their volumes: they sound the same and need one part instead of two. If the samples of a program still need more than its 4 parts, the parts are given layer by layer - the first voice of each panning, then the second one of each. In a layer, voices which are panned to both sides by the same amount, e.g. the two channels of a stereo sample, come first and get their slots together from the lowest one on, so both sides keep the same keys. Before, the voices got parts in the order of their panning, so the right channel of a stereo layer was the first to be left out. A TAL-Sampler preset with a doubled layer on each side and two centred sounds needed 7 parts and kept only the left side; it now needs 5 and keeps the left and the right layer and both centred sounds. * Groove Synthesis 3rd Wave: the format is selected by the unified program files The multi-sample files end with .bin, which many devices use, e.g. the pad configuration of the Roland SP-404MK2 (PADCONF.BIN): picking such a file selected the 3rd Wave as the source format. The format list and the selection of the format by the ending of a picked file now use .pgdata, the unified program files in which Groove Synthesis distributes its sample library. The .bin files are read as before, from a folder and as a picked file while the 3rd Wave is selected. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com>
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…ead (#487) * TAL Sampler: encrypted samples (*.talwav) are decrypted (#460) * TAL Sampler: encrypted samples (*.talwav) are decrypted The factory library of TAL-Sampler and many sample packs deliver their samples as .talwav files, which the plug-in creates with 'Convert wav Samples to talwav'. Such presets were rejected with 'Encrypted samples are not supported'. A .talwav file is the WAV file encrypted with Blowfish in ECB mode with a fixed 72-byte key; the halves of a block are little-endian words and the bytes behind the last whole block are not encrypted. The plug-in appends to an existing file, so a file converted more than once holds several copies; the first one is read, as the plug-in plays it. Blowfish is implemented in file/Blowfish, since the cipher of the Java Cryptography Architecture accepts keys of up to 56 bytes only. The format is documented in documentation/design/TAL_SAMPLER_TALWAV_FORMAT.md. * Clarify TAL-Sampler .talwav format documentation Focus the design notes on decoder requirements, format behavior and interoperability verification. * Processing: the note about clicking loops leaves loops with a cross-fade alone, like the snapping (#461) The note about loops which click only skipped loops with a cross-fade of at least 1% of the loop, while 'Snap loops which click' leaves every loop with a cross-fade alone. A loop with a shorter cross-fade was therefore skipped by the snapping ('0 adjusted') and reported by the note, which recommended the snapping; 'Only loops which click' replaced its cross-fade. Both now use the same check, so they always agree about a loop, as the note was documented to do. When the loops were snapped, the note now says that the loops it names still click after the snapping instead of recommending it. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * TAL Sampler: a layer which is not switched through the filter plays unfiltered (#462) TAL-Sampler has one filter and switches each layer through it or not. The reader applied the filter to all layers if the first one is switched through it and to none otherwise; 83 of the 1,675 presets on the test machine filter only some of their layers. Only the zones of the layers which are switched through the filter get it now, and the writer switches only the layers through it whose zones have a filter. Waldorf Quantum/Iridium: an oscillator whose zones have no filter while other zones of the layer have one is written with the destination 'VCA', which sends it directly to the amplifier, around the filter, and such an oscillator is read without the filter. The filter, its wheel modulation and its LFO are taken from the first zone which has a filter, and a filtered and an unfiltered group are not merged into one oscillator. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Waldorf Quantum/Iridium: warn when the groups of a preset do not fit into the layers, 2 layers by default (#463) * Waldorf Quantum/Iridium: warn when the groups of a preset need more layers than the option allows The writer puts every group which needs an oscillator of its own on one, 3 per layer, and adds the groups beyond the maximum number of layers of the option to the last sample map. Entries which overlap in one sample map alternate on successive notes instead of sounding together, so such a preset silently played two of its layers alternately. A warning now names the preset, the samples which are added and the number of layers which keeps them apart - or that even the 4 layers of the device are not enough. The written files do not change. * Waldorf Quantum/Iridium: the maximum number of layers is 2 by default With the default of 1 layer, a preset which needs more than the 3 oscillators of one layer played two of its groups alternately, e.g. 7 of the 32 presets of Michael Oakley's TAL-Sampler pack. Every instrument of the family plays 2 layers, and a preset which fits into one layer is still written as one. An explicit setting of the replaced option which leaves the second layer off still selects 1 layer. The choices of the option say what they are for: '1 layer (stackable)', '2 layers (all models)'. The tooltip of the author and the bank is shorter, so that it fits on small screens. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * TAL Sampler: the decay is much slower than the attack and the release (#464) The decay of the envelopes was converted with the time law of the attack and the release, 7.2 x^4 seconds. Rendered offline (4.7.2), the decay of TAL-Sampler approaches the sustain level exponentially and much slower: with a sustain of 0, the values 0.3 to 0.8 reach -6 dB after 0.11, 0.35, 0.70, 1.35, 2.70 and 4.56 seconds and every further 6 dB after the same time again, and towards a sustain of 0.5 the time constant is the same. A decay is now converted to the linear decay which reaches -20 dB at the same moment as the one of the plug-in, 37.1 x^3.75 seconds (within 9 % of the measurements), and written back with the inverse law. Sounds which decay to silence were far too short, e.g. 'Casiowave' of Michael Oakley's pack decayed in 0.12 instead of 0.8 seconds. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * DecentSampler: a preset with a repeated attribute could not be read (#471) * DecentSampler: a preset with a repeated attribute could not be read A preset which sets the same attribute twice on one element was rejected by the XML parser and skipped as a whole, e.g. 'Could not parse XML (line: 36, column: 54): Attribute "textColor" was already specified for element "labeled-knob"'. DecentSampler loads such a preset: it is built on JUCE, whose XML parser appends every attribute it reads and returns the first one with the requested name. Presets are often written by hand, where such a repetition is easy to produce - all seven presets of Harry Zimm's 'Rare Akai AX73' carry a second 'textColor' on the reverb knob of their user interface, and none of them could be converted. A repeated attribute is now ignored and its first value used, for preset files as well as for the presets inside a library. The line breaks of the file are kept, so a further error is still reported at its line, and the log names the attribute and the element. Presets without a repetition are unchanged: the seven presets written by the DecentSampler destination read back without a message. * DecentSampler: a repeated attribute is only logged if it matters The message about a repeated attribute was logged for every repetition, also for the second 'textColor' on the reverb knob of the 'Rare Akai AX73' presets, which only colours the user interface and makes no difference to the conversion. It is now logged only if the two values differ and the attribute is one which the conversion reads. With 'Log unused XML elements and attributes' every repetition with a differing value is logged. A repetition of the same value is never logged, since either value gives the same result. The table of the attributes which the conversion reads now also lists the elements tag, effect, envelope, lfo and binding. Their attributes were read with literal names or a private constant; they use the constants of the table now. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * DecentSampler: 'Create folder structure' reproduced a dsbundle as a folder (#472) With 'Create folder structure', the presets of a dsbundle were written into an output folder named like the bundle, e.g. 'Harry Zimms Rare Akai AX73 Synthesizer.dsbundle/asgard.sfz', which the Finder shows as a bundle file again; the DecentSampler destination with 'Create Bundle' even nested its bundles inside it. A dsbundle is a folder which DecentSampler treats as one file, like a dslibrary, whose presets already went into the folder which contains the library file. A detector can now declare a folder as a package which the format treats as one file; such a folder is left out of the sub-path of the output, its name is still used for the detection of the metadata like any folder name. The DecentSampler detector declares the dsbundle. The presets of a bundle go into the folder which contains the bundle, also when the bundle is the selected source folder or has sub-folders. The Contents dialog matches the folders of a file against the sub-path in their order, since both do not match one to one any more, and shows the bundle as the folder it is. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * SFZ: exclusive groups are read and written (group, off_by) (#475) The exclusive groups of the model were neither written nor read, so e.g. the open and closed hi-hats of a drum kit which was converted to SFZ played on top of each other. A region of an exclusive group now carries its number in the 'group' and the 'off_by' opcode, so that the regions of the group switch each other off. The opcodes are promoted to the group and global level like the other opcodes. When reading, a region whose 'group' and 'off_by' are equal gets that exclusive group. A region which is switched off by another group than its own, e.g. an open hi-hat which the closed one stops but not vice versa, cannot be expressed as an exclusive group and is read without one. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Processing: a sample which would clip after reducing the sample frequency is lowered (#476) The band-limited conversion of the sample frequency overshoots at steep edges, e.g. of square waves, therefore the audio of a sample which peaks close to full scale exceeded the range of its bit depth and was clipped. E.g. 150 of the 160 tone samples of the Speak & Music library, which peak at about -1 dBFS, overshot by up to 1.5 dB when converted from 48 to 44.1 kHz. The processing options now lower such a sample until it fits and add the attenuation to the gain of its zone, so that its loudness stays the same. The conversion which a destination format applies when writing its own sample frequency cannot adjust the zone and still clips. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Processing: the samples can be transposed onto the pitch they sound at (#477) * Processing: the samples can be transposed onto the pitch they sound at A sample library is often built from an instrument which was itself transposed - another footage, a frequency ratio of one half or two, a transposed patch - so that the recording which is mapped to C3 sounds one or two octaves away from it. The mapping is faithful and the source plays exactly the same way, but on the destination device the preset is then played in another part of the keyboard than the player expects, and a fixed transposition cannot fix a library in which only some presets are affected. The pitch of a sample is now measured and a note reports how far the samples of a multi-sample sound from their root keys. The Transpose processing option set to 'Auto' (-Zpa) moves the root keys of each multi-sample onto its measured pitch; only the root keys are moved, the audio, the key ranges and the tuning of the zones stay as they are. The pitch is the highest fundamental whose harmonics hold at least 85% of the power of the spectrum: a candidate an octave too low explains the same partials but predicts harmonics between them which are not there, and one an octave too high is only taken if the odd harmonics are practically absent, which is then the pitch which is heard. It is measured in up to twelve zones spread over the multi-sample, in the loop or in the loudest part after the attack, and a result needs at least three measurable zones of which at least 80% agree - material which is not clearly pitched and kits whose zones are each rooted differently get no result. * Manual: when to use the transposition to the measured pitch Whether a transposition is wanted is a decision and not a defect - an instrument is often played one or two octaves away from the key - so the option is meant for the presets which need it and not for a whole library, where it would move the bass patches as well. The note is logged without the option, so a plain conversion already reports which presets sound away from their keys, and every transposed multi-sample is logged with its value. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Groove Synthesis 3rd Wave: read and write unified programs and multi-sample slots (#478) * Groove Synthesis 3rd Wave: read and write the sample slots The oscillators of the 3rd Wave play sample slots (S00, S01, ...), which hold up to 8 mono samples, each with its key range around an assigned note, fine tuning, volume, play range and loop. The device stores a slot as a multi-sample file (*.bin) and a program together with the slots and wavetables it uses as a unified program file (*.pgdata). Reading takes the multi-sample files (versions 1, 4 and 5) and the sample slots of unified program files. Each slot becomes a multi-sample; key range, assigned note, fine tuning, volume, play range and the loop with its cross-fade are read, 'looping on when note on' as a loop which ends at the release of the note. The settings of the program are not converted. Writing creates multi-sample files for 'Import multisample' and 'Bulk multisample import'. Samples which do not fit into one slot - more than 8, layered samples like velocity layers or round robins, or more than the sample memory - are written as further, numbered slots. The samples become 16 bit mono with 10 to 48 kHz; a looped sample outside of that range is converted together with its loop, for which AbstractCreator#recalculateSamplePositions got a variant which takes a range of sample rates. Coarse tuning moves the assigned note, the key range is limited to two octaves around it and the gain is applied to the audio, up to its peak level, since the format has no volume. Tested with the files of the manufacturer: the 45 programs of the sample library and the 19 unified programs of the factory banks are read to their exact end (88 slots, 378 samples), as are the six multi-sample files of the OS 1.8 sample presets; the version 4 file among them is written back byte-identical. Written as multi-sample files, all 270 samples of the sample library keep audio, play range, loop, key range and tuning, except for 31 equal-power cross-fades (written as equal volume), five 12 bit settings and one key range beyond two octaves. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: write unified program files A multi-sample file needs to be imported into a sample slot and a program has to be set up to play it. A unified program file carries a program together with the samples it plays and loads with a single import, the way the sample library of the manufacturer is distributed. It is now the default output; the multi-sample files remain available with the new 'Output' option (-p ThirdWaveOutputFormat=bin). The program is the init program of the instrument, stored as a resource in the program file format of the instrument. Part N plays sample slot N with its first oscillator at full level, its other oscillators are silent. A multi-sample with more than 8 samples is split into up to 4 slots and the parts split the keyboard between them. Velocity layers and round robins cannot be played by a program, only the first layer is written. The samples store their gain as their volume (up to +6 dB) instead of applying it to the audio. A program whose samples do not fit into the sample memory of the device is not written. Written as programs, the 65 slots of the sample library of the manufacturer keep the audio, volume, play range, loop, key range and tuning of all 270 samples, except for one key range beyond two octaves; read back, the written programs differ from the init program only in their oscillators and the split of the keyboard. The written files are not yet verified on hardware. * Groove Synthesis 3rd Wave: read programs as instruments, write layers to parts A unified program file is now read as one multi-sample which plays like the program: each oscillator of a part which plays a sample slot becomes a group with the level (oscillator level x part volume), panning and tuning (coarse and fine tuning of the oscillator plus the fine tuning of the part) of its part, on the keys of the keyboard sections which the part plays, shifted by the transposition of its keyboard. Stereo programs (two parts panned to both sides), split programs and layered programs therefore arrive as one instrument instead of one multi-sample per slot. An oscillator which does not follow the keyboard plays its samples at a fixed pitch. A slot of which the program does not play all samples is read on its own as well; a program whose parameters have an unknown layout is read as its slots. When a program is written, samples which play at the same time get parts of their own: the two channels of a stereo sample, panned to both sides, or a second sound on the same keys. A part gets the tuning which most of its samples share on its oscillator and the level of its loudest sample on the oscillator level and the part volume, so gains up to +10.6 dB leave the audio unchanged. Samples are grouped by their tuning as well if their assigned notes cannot take the difference. Parts whose slots hold the same samples share one slot, and a layer whose slots split the keyboard at other notes than the main layer plays all sections which its samples reach. Velocity layers and round robins are still reduced to the loudest layer and the first round. All 64 stock programs, read as instruments, written as programs and read back, play the same on every key except for the two-octave key range of one stock sample and one oscillator with a fixed pitch; the 18 layered programs of the sample library also keep what every key plays through SFZ and DecentSampler. * Groove Synthesis 3rd Wave: design document, the SFZ round trip of one program One part of 'Hanger Drums and FM' is tuned by +36.93 semi-tones, which the SFZ reader limits to 36 when the written preset is read back. * Groove Synthesis 3rd Wave: combine doubled samples, keep both sides when parts run out Samples which play the same audio in the same way on the same keys, e.g. a layer which a preset doubles, are written as one sample with the sum of their volumes: they sound the same and need one part instead of two. If the samples of a program still need more than its 4 parts, the parts are given layer by layer - the first voice of each panning, then the second one of each. In a layer, voices which are panned to both sides by the same amount, e.g. the two channels of a stereo sample, come first and get their slots together from the lowest one on, so both sides keep the same keys. Before, the voices got parts in the order of their panning, so the right channel of a stereo layer was the first to be left out. A TAL-Sampler preset with a doubled layer on each side and two centred sounds needed 7 parts and kept only the left side; it now needs 5 and keeps the left and the right layer and both centred sounds. * Groove Synthesis 3rd Wave: the format is selected by the unified program files The multi-sample files end with .bin, which many devices use, e.g. the pad configuration of the Roland SP-404MK2 (PADCONF.BIN): picking such a file selected the 3rd Wave as the source format. The format list and the selection of the format by the ending of a picked file now use .pgdata, the unified program files in which Groove Synthesis distributes its sample library. The .bin files are read as before, from a folder and as a picked file while the 3rd Wave is selected. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Waldorf Quantum/Iridium: a group gain above 0 dB is kept (#479) The gain of a group is written as the volume of the oscillator which plays it, and the same amount is taken off the entries of its sample map so that it is not applied twice. The volume of an oscillator ends at 0 dB, though: the part of a higher gain was clamped away there, but still taken off the sample map, so it was lost. A DecentSampler preset whose two layers are raised by 1.7 and 2.3 dB arrived that much quieter and with the balance between its layers changed. Only the part of a group gain up to 0 dB goes to the oscillator now; the rest stays in the entries of the sample map, which carry a gain above 0 dB anyway. Read back, the presets keep the gain of every layer. Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * * discoDSP Bliss * New: Added support for reading/writing version 3.8 - 3.20 features (round-robin, one-shot). Writing now always uses version 3.20. * New: Add support for LFOs (unfinished) * Fixed: Read version is now output in decimal not hexadecimal. * Consolidation. * Cleanup. * DecentSampler: product presets (dsproduct) are read (#473) A dsproduct file contains the XML document of a dspreset in a binary container: the header DECENTSAMPLER001 followed by the document, which is encrypted with Blowfish in ECB mode (little-endian block halves) and padded to whole blocks. It is decoded in memory and read like a dspreset, also inside of dslibrary files and dsbundle folders. Unknown versions and truncated or damaged files are reported, the other presets of a library are still read. DecentSampler sends the stored values of the controls of the user interface to the parameters which they are bound to when it loads a preset, therefore these values are applied before the conversion, with linear, table and fixed-value translations: amplitude envelope, volume, pan, tuning, key and velocity tracking, enabling groups and tags, tag volume and polyphony, filter frequency and resonance, the gain effect and the amount and rate of modulators. Further: - The settings of the groups element and of a group are the defaults of their samples, e.g. velocity ranges which are set on the groups were ignored before. - The pan of a sample replaces the one of its group, the pan offsets of the instrument and of a group (globalPan, groupPan) are added. The volume of the groups element, the tag volumes, the gain effects and the volume of the main output are applied. - Groups and samples with a disabled tag are skipped like disabled groups. - A sample without the amplitude envelope (ampEnvEnabled) becomes a one-shot, samples which silence each other with a tag (silencedByTags) an exclusive group. - If a preset sets its amplitude envelope, the curves which are not set get the defaults of DecentSampler (logarithmic attack, exponential decay and release). Without any envelope setting the default envelope of the category is applied as before. - The features which change the sound but cannot be converted, e.g. a convolution, are listed in one message per preset. * DecentSampler: one-shots, exclusive groups and linear curves are written (#474) * DecentSampler: product presets (dsproduct) are read A dsproduct file contains the XML document of a dspreset in a binary container: the header DECENTSAMPLER001 followed by the document, which is encrypted with Blowfish in ECB mode (little-endian block halves) and padded to whole blocks. It is decoded in memory and read like a dspreset, also inside of dslibrary files and dsbundle folders. Unknown versions and truncated or damaged files are reported, the other presets of a library are still read. DecentSampler sends the stored values of the controls of the user interface to the parameters which they are bound to when it loads a preset, therefore these values are applied before the conversion, with linear, table and fixed-value translations: amplitude envelope, volume, pan, tuning, key and velocity tracking, enabling groups and tags, tag volume and polyphony, filter frequency and resonance, the gain effect and the amount and rate of modulators. Further: - The settings of the groups element and of a group are the defaults of their samples, e.g. velocity ranges which are set on the groups were ignored before. - The pan of a sample replaces the one of its group, the pan offsets of the instrument and of a group (globalPan, groupPan) are added. The volume of the groups element, the tag volumes, the gain effects and the volume of the main output are applied. - Groups and samples with a disabled tag are skipped like disabled groups. - A sample without the amplitude envelope (ampEnvEnabled) becomes a one-shot, samples which silence each other with a tag (silencedByTags) an exclusive group. - If a preset sets its amplitude envelope, the curves which are not set get the defaults of DecentSampler (logarithmic attack, exponential decay and release). Without any envelope setting the default envelope of the category is applied as before. - The features which change the sound but cannot be converted, e.g. a convolution, are listed in one message per preset. * DecentSampler: one-shots, exclusive groups and linear curves are written - A one-shot sample switches off its amplitude envelope (ampEnvEnabled="false"), with which DecentSampler plays it to its end. A looped sample is not written as a one-shot, since it would never stop then. - The samples of an exclusive group carry a tag by which they silence each other (tags and silencedByTags). A sample keeps the tag which limits the number of voices. - A curve of the amplitude envelope which is not set is logarithmic for the attack and exponential for the decay and the release in DecentSampler. The curves of an envelope are therefore always written, also a linear curve (0), which was left out and played curved. - If all groups had the same amplitude envelope, it was written to every sample instead of once for the instrument (AbstractCreator .getAmpEnvelopeParamLevel returned the zone level). The envelope knobs of the user interface, which are bound to the instrument, then started at default values and did not change the sound. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Process dialog: list the loop options in the order they are applied (#480) 'Snap loops which click' now comes before the loop cross-fade, and the check box next to the cross-fade reads 'Only loops which still click': together they snap the loops which click and cross-fade only the loops which snapping could not fix. The drop-down is labelled 'Cross-fade loops' instead of 'Set fixed loop-crossfade', and the check box is disabled while no cross-fade above 0% is selected, since it does nothing without one. The log counts the loops which snapping moved instead of 'adjusted' ones, the notes about clicking loops name 'Only loops which still click', and loops which still click because they start at the beginning of their sample get a note which says so. * Loop click note: the movement of the waveform overflowed for 24 and 32 bit audio (#481) The median frame-to-frame movement around a loop boundary was multiplied by the sample rate with integers, which overflows for loud 24 and 32 bit audio, e.g. a median step of 74,000 at 48 kHz. The movement turned negative, so every jump above 2% of the level counted as a click: the note reported such loops and the loop cross-fade for the loops which click was set on them. After snapping, the 834 TAL-Sampler presets on the test machine report 124 instead of 456 loops, nearly the 123 which they report when their samples are reduced to 16 bit. * Processing: loops which wrap seamlessly are no longer cross-faded as clicking or snapped into a click (stacked on #480) (#482) * Process dialog: list the loop options in the order they are applied 'Snap loops which click' now comes before the loop cross-fade, and the check box next to the cross-fade reads 'Only loops which still click': together they snap the loops which click and cross-fade only the loops which snapping could not fix. The drop-down is labelled 'Cross-fade loops' instead of 'Set fixed loop-crossfade', and the check box is disabled while no cross-fade above 0% is selected, since it does nothing without one. The log counts the loops which snapping moved instead of 'adjusted' ones, the notes about clicking loops name 'Only loops which still click', and loops which still click because they start at the beginning of their sample get a note which says so. * Loop click note: a loop only clicks if its wrap also breaks the curve of the waveform The jump from the last frame of a loop to its first frame is large in a steep part of the waveform even where the loop continues seamlessly, e.g. at the edge of a square or pulse wave. Such loops were reported as clicking and got the loop cross-fade of 'Only loops which still click', although 'Snap loops which click' leaves them alone as clean. A loop now only counts as clicking if its wrap also breaks the curve of the waveform, which is the measure of the snapping. * Snap loops which click: a loop which does not jump is not moved to a position which jumps The snapping measures the bend of the waveform at the loop point, and a loop whose last frame repeats its first frame bends a little there. The nearest zero-crossings of a pulse wave can be half of its level apart, so such a seamless loop was moved to a position which jumps at every repeat. A position which jumps at the loop point is not taken anymore for a loop which does not jump there, measured like the note about clicking loops measures the jump. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com> * Ableton: Live Packs (ALP) and Live Sets (ALS) are read (#483) Live Packs are the files in which Live content is sold and shared, e.g. the Sampler and Simpler instruments of issue #227. They are now read directly, without unpacking them in Live first: the Sampler and Simpler devices of all presets and Live Sets in a pack are converted with the samples from the pack, which stores them compressed with FLAC; they are decoded when they are read. A pack which is compressed as a whole with GZIP is de-compressed into a temporary file, which is deleted when the next detection starts or the application ends. Presets which older packs store in the binary format of older Live versions (e.g. packs from 2008 and 2009) are counted and reported. A Live Set delivers every Sampler and Simpler on its tracks, also in racks, named after the Live Set and the track; devices without samples are left out. Also fixed: - Presets stored as plain XML instead of compressed XML were rejected with 'Not in GZIP format', e.g. all 23 kits of the '80s hits' pack of Subsocial Studios. - The samples of presets and Live Sets saved with Live 10 or earlier were not found, since these versions store the path of a sample as a list of folders with the name of the file separately. - A rack preset without any Sampler or Simpler reports 'Not a sampler preset file.' like a device preset of another instrument, instead of nothing. * AIFF: files with 32-bit floating-point sound data (AIFC 'fl32') are read AIFC files whose sound data is 32-bit floating-point ('fl32') were rejected as if they were compressed, e.g. the sample 'Clave Synth' of the Core Library of Ableton Live, which its rack 'Percussion Spirit Kit' plays, and the spring impulse response of Ableton's 'Convolution Reverb' pack. The data is plain big-endian IEEE float; it is now converted from the chunks like the other AIFC files, into a WAV file with IEEE float data. The converted audio is identical, sample for sample, to the source and to what macOS decodes from the same files. The 325 integer AIFF and AIFC samples which the Sample Files source converts from the multi-samples of the Core Library are written byte-identically as before. * Adapted to latest code changes. Ready to merge. * Update for merge. --------- Co-authored-by: Jürgen Moßgraber <juergen.mossgraber@googlemail.com>
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Adds the Groove Synthesis 3rd Wave as a source and a destination format.
The oscillators of the 3rd Wave play wavetables, analog waveforms and sample slots of up to eight mono samples. On its USB drive the device stores a slot as a multi-sample file (
.bin, Import multisample) and a program together with the slots it plays as a unified program file (.pgdata, Import unified program data file), which is also the form in which Groove Synthesis distributes its sample library. Neither file format is documented; the layouts are described indocumentation/design/THIRD_WAVE_FORMAT.md.Reading. A unified program file becomes one multi-sample which plays like the program: every oscillator of a part which plays a sample slot becomes a group with the level (oscillator level x part volume), panning and tuning of its part, on the keys of the keyboard sections which the part plays and shifted by the transposition of its keyboard. A stereo program - two parts panned to both sides -, a split program and a program which layers several sounds therefore each arrive as one instrument. A slot of which the program does not play all samples is read on its own as well. A multi-sample file (versions 1, 4 and 5) becomes a multi-sample with the samples of its slot. Every sample becomes a zone with its key range, assigned note, fine tuning, volume, play range and loop with its cross-fade. Envelopes, filters, modulation and effects of a program are not converted. The format is listed, and selected when a file is picked, by the ending
.pgdata;.bin, which many devices use (e.g.PADCONF.BINof the Roland SP-404MK2), is read from a folder and from a picked file while the format is selected, and a file without the signature of the 3rd Wave is skipped.Writing. By default a unified program file is written, so one import gives a playable program with all of its samples (Bulk unified program data import loads a whole folder). The program is the init program of the device - shipped as a resource in the device's own
.protext format; bank 5 of the 8M factory banks holds 49 copies of it - in which each part plays one sample slot:Alternatively (option Output,
-p ThirdWaveOutputFormat=bin), one multi-sample file is written per slot, with all layers. For both, the samples are written as 16 bit mono at 10 to 48 kHz, with their key range limited to the two octaves around the assigned note which the device plays. All samples of a program need to fit into the 3.3 MB sample memory (35 seconds at 48 kHz), which is checked.In the core,
AbstractCreator#recalculateSamplePositions(IMultisampleSource, int, int)converts only the samples whose sample rate lies outside of a range, together with their loops, for destinations which play a limited range of sample rates.Validation
S002_C15.binis written back byte-identical.Open points, listed in the design document: which of two sample rates stored with a sample the device uses (they differ in 13 of 378 stock samples), the time law of the envelopes (needed to convert envelopes and filters), and to which keyboard section a split note belongs.
Not yet tested on hardware: the written files have not been loaded on a 3rd Wave.
The feature sheet has the rows for the format.