![]() ![]() I then packaged all of this ridiculously over-the-top sample synthesis with my overly-complex user interface in Decent Sampler, and ’29 Bagpipes II’ was done, apart from checking the tuning (which I always get wrong), the audio levels (oops again), and getting distracted writing a blog post on how to prepare the required files for Decent sampler. But all I had were four notes, and no dynamics… So, after some modelling processing, I had 4 velocity layers for each of the notes, and I used my standard detuning technique to enable 3-way round robins.Īdditional processing produced some different excitation, driver and resonator models, which I used to derive some alternative sounds. Oh, and I also had 4 ‘non-notes’, which were the inharmonic residuals left over after all the harmonically-related material had been extracted.ĭecent Sampler is capable of amazing results, but it isn’t well suited to two channel A/S synthesis, so this meant that I was more or less forced to use just the extracted harmonic sounds as the basis for this ‘second iteration’ virtual instrument development. All I had managed to extract was 4 notes, one octave apart, produced from spectral averaging, harmonic extraction, and a few other techniques that would probably bore you. There are no multi-samples of bagpipes, nothing at usably different velocities, lots of background noise, and lots of tuning up. Hence this ‘Story’ about ’29 Bagpipes II’, the successor to the now almost pre-historic: ‘Synthesizerwriter’s 29 Bagpipes’, which you can still find in one of the deeper recesses of the .uk web-site.Ĭhristian’s 51.1 seconds of audio is not exactly optimised for creating virtual instruments. So this seemed like a good time to revisit the ’29 Bagpipes’ source material and see what would happen when a two-years’ wiser me took up the challenge. Wind forward 2 years, and Decent Sampler has changed the world quite significantly, particularly for me making virtual instruments. It was my first ever Kontakt virtual instrument, and so, yes, I got the paths wrong! At the time, I was still refining the Analysis/Synthesis-based (A/S) synthesis method from my AES paper that I presented at the Winter 2018 conference in Anaheim, USA, and so I used it to separate out the harmonic and inharmonic content, and made a few examples in Kontakt and Ableton Live’s Sampler. A couple of years ago, very early on in the history of Pianobook, Christian Henson ran a competition to see if anyone could make a virtual instrument (a Sample Pack in modern .uk-speak) from 51.1 seconds of some bagpipe players tuning up at Edinburgh Castle. ![]()
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