Emerson

[gizmo~]s placed in a [pfft~] harmonize OK, but I'm using them as "melody parts", so sometimes some parts need to be silenced. Is it possible to mute [gizmo~]s placed in only one [pfft~] individually? In other words, does sending them "1"s do that? I'm scared of causing much overhead by putting them into separate [pfft~]s, in which case they would obviously be mutable.

What can I do to minimize the latency of the transposed audio (passing through the [pfft~])? I see that it must be inevitable to some degree, related with FFT window's hop size and total size and sampling freq.; is there a known adjustment to give the best result without losing low freq. resolution?

pfft-questions

yes, you can control individually every gizmo~ inside your pfft~. but you will not silence them by sending them "1", they just will output an untransposed signal. to silence a gizmo~, put a gain control after it (connect it to both outputs!). then, if your gizmo~s are many you can choose to put them inside a poly~ and selectively mute the poly~ instances in order to save some CPU %.

the pfft~ latency is only related to your window size. overlap (window size / hop size) doesn't affect it. Sampling rate of course does, but the actual relationship between frequency and time resolutions is not affected by sampling rate either: so, by changing the sr you will have no improvement in your latency without losing frequency resolution.

About the resolutions; I know that the product of deltatime and deltafrequency cannot be smaller than a constant, I wondered if values for an "optimum" trade-off was experimented before to be written as pfft~arguments. But it would differ anyway as how fast the audio changes / how low freq. it includes... Guess that was a silly question, sorry.

I'm surprised with your answer about the window, because when I increase the overlap from 4 to 8, I hear more "synchrony". I had thought it was because the hop size was reduced (by 0.5) outputting two times faster (?)

I'm using only three transposed parts in addition to the source audio.

Do you mean controlling gain like below or with [*~ ]s?

you can control the gains as you did, or with *~ - conceptually it's the same.

Just, if you use *~ remember to smooth the gain factor with line~ or similar if you don't want clicks and other artifacts.

increasing the overlap improves the time resolution of the processing you do in pfft~, and this explains the better "readyness" you hear. it doesn't change the inherent pfft~ latency, though - test it with a dummy pfft patch, with fftin~ connected to fftout~, and you'll see...

you can control the gains as you did, or with *~ - conceptually it's the same.
Just, if you use *~ remember to smooth the gain factor with line~ or similar if you don't want clicks and other artifacts.

increasing the overlap improves the time resolution of the processing you do in pfft~, and this explains the better "readyness" you hear. it doesn't change the inherent pfft~ latency, though - test it with a dummy pfft patch, with fftin~ connected to fftout~, and you'll see...


[pfft~] question(s)