[Sidefx-houdini-list] audio - chops
larry at gcreativestudios.com
Wed Mar 15 17:33:16 EST 2006
Thanks all for the great feedback, some very helpful
advice. (Special thanks for the file, David).
This gives us some good stuff to experiment with.
We're definitely getting some way cool results.
I had to chuckle a bit when you suggested the
original multi-track master, Andrew. Definitely would
be a great thing to have ........... but I'd just settle
for the client committing to a final audio selection.
Your assumption about the bass line in a mix is
right on, but I think your suggestion of looking at
the keyboard chop is a promising idea. The drum
lines, so far, are proving easier to isolate.
On Mar 15, 2006, at 2:26 PM, Andrew D Lyons wrote:
> I spent a lot of time doing this kind of thing in 2000. It helps a lot
> to have the original multi-track master of your audio. WIth the bass
> track on it's own you can kind of do something. If not you can
> probably still apply band pass filters or a low pass filter to isolate
> low frequencies.
> In general, gettiing animation curves off bass lines is tricky because
> the perceived onset of the note and it's envelope is often different
> to the signal power. As an example, peak signal power can be a little
> after the actual pluck.
> Even with the bass track isolated on the master, in the end I was
> forced to band pass filter out the mid-frequency sound of the plectrum
> on the strings to get the onset, and then create a synthetic envelope
> from that using the lag CHOP and other envelope tools. In a mix, you
> probably won't be able to isolate the plectrum sound, and so you may
> be forced to tap in the rhythm of the bass line using a keyboard chop
> or some other input device, and create a synthetic envelope that way.
> On 15/03/06, Larry Giunta <larry at gcreativestudios.com> wrote:
>> Were using chops to import audio
>> track ( music ) which are then used to drive
>> animation ....... birthing blast of
>> particles and pulsing waves through geometry, etc.
>> With some massaging in chops we're able
>> to very easily pull some rhythmic spikes
>> off of certain tracks and get great results.
>> With other tracks it's very difficult to isolate the
>> high points we need to grab. Most of the time
>> we are trying to pull out strong bass lines or
>> drum beats ( kind of club type music with repeating
>> I'm wondering if there are any chops we're
>> overlooking that might help us isolate out the
>> parts of the tracks we're trying key off of???
>> Right now we're playing a lot with the resample and
>> filter (with sharpen) to create distinct high points.
>> Thanks for any thoughts.
>> Larry Giunta
>> Creative Director
>> G Creative Studios
>> larry at gcreativestudios.com
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> Andrew D Lyons | Digital Artist | http://www.tstex.com
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