estevancarlos

It's regarding Polyphony, from Cycling74.

At that mark in the video, it introduces a better way to manage MIDI input with a float, edge~, and swap.

To my understanding the [mtof] sends a float to the right input of [float]. [float] holds it until [edge~] makes it output the value with a bang. [edge~] just receives 0 or non-0 signals. Then there's a swap that deals with the [mtof] before sending out velocity.

My other question is, what's wrong doing it without [edge~], [float], and [swap]? I may have an idea but I'd like to hear someone's opinion on how this improves performance?

To my understanding the [mtof] sends a float to the right input of [float].  [float] holds it until [edge~] makes it output the value with a bang. [edge~] just receives 0 or non-0 signals.  Then there's a swap that deals with the [mtof] before sending out velocity.

My other question is, what's wrong doing it without [edge~], [float], and [swap]?  I may have an idea but I'd like to hear someone's opinion on how this improves performance?


who-can-elaborate-on-this-tutorial

i see no reason why you would use edge~ this way at all. you could just trigger the frequency value from the envelope input, or the other way round, start the envelope from the note input.

in any case the timing accuracy of the generator will depend on the vector size. and if overdrive is on or not will not make a difference either in practice. (i assume that you normally have overdrive on, when playing audio in realtime.)

i see no reason why you would use edge~ this way at all. you could just trigger the frequency value from the envelope input, or the other way round, start the envelope from the note input.
t b f, float, adsr~ ... whatever.

Who can elaborate on this polyphony tutorial?