pitch~ or fiddle~, that is the question…
MIT has some externals called pitch~ abd fiddle~.
I am new to doing realtime pitch detection. I was wondering
if someone could give me some tips on using these. Of pitch~ or
fiddle~, which is better? If I had a prerecorded snipet of the
instrument I was going to interact with, is there a way I can do
some spectral analysis to help train pitch~ or fiddle~?
Surely someone has used these…
Of course. Use whichever works best for you. Some people may have had
more success with fiddle~, some people will prefer pitch~, some
people will say both work equally well (or poorly).
It’s not so much a question of "training" either (in the sense of
training neural networks), but of tweaking parameters to best suit
your input signal.
Good luck — P.
————– http://www.bek.no/~pcastine/Litter/ ————-
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Quote: Anthony Palomba wrote on Fri, 17 March 2006 22:40
> MIT has some externals called pitch~ abd fiddle~.
> I am new to doing realtime pitch detection. I was wondering
> if someone could give me some tips on using these. Of pitch~ or
> fiddle~, which is better?
This sentance from Tristan’s website is a tipoff:
"Pitch tracker based on fiddle~ from Miller Puckette," that they’re pretty similar.
If I had a prerecorded snipet of the
> instrument I was going to interact with, is there a way I can do some spectral analysis to help train pitch~ or fiddle~?
These objects aren’t trainable. But you can increase the quality of your analysis by filtering out extraneous noise. I put some serious high pass filters before either object, and sometimes lowpass, too. I try to keep my microphone placement super close (to avoid any reverb) and consistent.
It take some fiddling to get these to behave. Some things (flutes, violins) are easier than others.
Has anyone tried the "WIDI Audio To MIDI" VST plug-in Max/MSP versus
TIA for any feedback.
(just a user ;-)
On 3/20/06, mzed
> It take some fiddling to get these to behave. Some things (flutes, violins) are easier than others.
Worth keeping in mind too that you will tweak fiddle~ in a specific
room/studio/hall or whatever. When you go to a different place with
different acoustics it will be necessary to tweak again–probably not
as much work as getting fiddle~ to respond reliably to a particular
sound in the first place, but things do sound different in different
places, both to you and to fiddle~. Not to mention the potential
effect of using different microphones, etc.
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