Composers Desktop Project Forum

In Settings - Sample Type (Bits) there are two options: 16 and 32 bits.

Why is it not possible to choose 24 bits?

Hi
In Soundshaper Settings, under Sound Playback, by default, the option: Media Player/WaveMapper is selected.
I want to assign it to my Traktor Audio 10 card.
I choose 12 Main Output Traktor Audio 10.
How to save this new configuration? 
I have tried all options; Initial Setup Save, Change Settings OK and Save Seetings File SAVE and when I reopen Soundshaper the Media Player/WaveMapper option is back.

Hi
For example, I load a drumloop into a Soundshaper´s box.
I load a pad into another Soundshaper´s box.
I want to extract the volume envelope from the drumloop and apply it to the pad so that it sounds with the same rhythm as the drumloop.
- Is this possible in Soundshaper?
- How would the process work?

Hi
A lot of thanks for your help Robert.
Yes, it would be very interesting to have Dry/Wet and Morph parameters in the processors.

See the new post WET-DRY in CDP for my answer.  In Soundshaper, there is already a new BALANCE option (which needs no parameters) - this raises or lowers the maximum level of the process output to match that of the input. I'm planning to have more "add-on" facilities and I've been working on how to do this within the program. MIX BALANCE (for wet-Dry) is top of this list and MORPH is another possibility. 

'Lunatico' in thread "Equal intervals 2" asks if there is a Wet-Dry regulator in CDP. I'm starting a new topic as this is an important question to raise and of general interest, especially for those new to CDP.

Some CDP processes do have a parameter for the amount of the effect (CROSS, for example), but most do not. You have to add your own WET-DRY control - which is SUBMIX BALANCE (Soundshaper menu: EditMix > MIX > MixBalance). 

For example, the process PHASOR with a semitone shift of 1 will probably give quite a pronounced effect. To lessen this, add Mix Balance, with the source as the second input (File 2). (In Soundshaper, click on the source cell to select this.) Within Mix Balance, Balance is the Wet-Dry parameter: a value of zero is fully 'dry' (0% File 2 - Source) and 1 is fully 'wet' (100% File 1 - Phasor). 

In Soundshaper the patchgrid shows the process chain: Source - Phasor - MixBalance. In a longer chain, it might still be relevant to choose the original source as Input 2, rather than the previous process.  Also in Soundshaper, you you can select a spectral file for either Input 1 or 2, provided the Option Auto-FFT is checked (as it should be by default). It would be useful to have a wet-dry control built in to many processes as an optional parameter and I'm working on ways of doing this within Soundshaper.

Hi

Robert; Thank you very much for your answer-masterclass, very interesting!

- I don't see in Soundshaper´s effect processors (like this Filter Varibank) a dry/wet regulator.
You can hear the original signal in the background, is there a way to hear only the processed signal (WET) ?

Hi,
1.

Quote from: Lunatico on June 14, 2025, 05:55:46 PMit is better to activate the checkbox Options : Double filtering ?

Double filtering often gives better results

Quote from: Lunatico on June 14, 2025, 05:55:46 PM2- Filters can be subtractive or additive,

Filtering is always subtractive - you're taking something away. Think of of a sculptor fashioning a shape out of a block of stone.
'Q' sets the sharpness of the filter's frequency response around its central frequency - a higher 'Q' will be be more focussed on that frequency, but is likely to be quieter - hence the GAIN control to boost the signal up again. You're boosting the resonance of the filters.

It's important to understand that we can't filter out what isn't there. Your example of the G chord (or G-based drone) is a good one. Against the A harmonics, we won't get much of a match; but what there is will resonate. A noise-based sound (like the sea) is often a good source to experiment with, because we can tune that into something more musical. Another trick is to mix some differently pitched sounds together before applying the filtering.  You might care to compare VARIBANK with spectral TUNE, which moves the frequencies to fit the given template (same format as for Varibank, so the profiles can be shared). Even here though, if you tuned birdsong against lower frequencies, only the harmonics of these frequencies would match. It won't magically transpose the original pitches down. Same with vocoding, which is also a filtering technique.

Quote from: Lunatico on June 14, 2025, 05:55:46 PMThe imported sound to which the Varibank-Filter is applied is important, should it be a constant, long lasting sound like a pad, a drone?

As you say, a constant or drone sound can be a good source for applying filters. You can then rhythmicise the result in various ways.   

Hi Robert
Thanks for the latest update, I already have it updated.

Thanks for the information