PolyTune
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From: Cirrus on 26 Jul 2010 07:27 Hi All, I'm a software engineer and musician who has always been keen on learning more about the meshing of these two fields. I've been studying DSP for personal interest (I've created a couple fun software experiments like synthesizers, drum machines, tuners). I just recently acquired one of these cool PolyTune tuners: http://www.tcelectronic.com/polytune.asp I've been so impressed by how well it works that I've tried my hand at figuring out the math to this myself. I tried upgrading a simple FFT tuner I made to work like this. I built a simple little test environment that is by no means robust but "kind of works". I calculate the frequency spectrum with the FFT every 0.1 seconds and examine certain ranges of interest for each string. The biggest problem is that overtones from some of the lower frequencies collide with the area of interest of other strings. For example, one overtone from the A string is right between the high E and its closest sharp semitone (F). This creates two peaks in my area of interest for the high E string. This makes it difficult to discern which peak is from the actual E string and which one is from the A string. Furthermore the low E string has a pretty strong harmonic on the high E string. Am I taking the wrong approach? I can provide some plots from my software if my explanation wasn't clear... Any ideas?
From: Tim Wescott on 27 Jul 2010 01:56 On Mon, 26 Jul 2010 06:27:06 -0500, Cirrus wrote: > Hi All, > > I'm a software engineer and musician who has always been keen on > learning more about the meshing of these two fields. I've been studying > DSP for personal interest (I've created a couple fun software > experiments like synthesizers, drum machines, tuners). I just recently > acquired one of these cool PolyTune tuners: > http://www.tcelectronic.com/polytune.asp > > I've been so impressed by how well it works that I've tried my hand at > figuring out the math to this myself. I tried upgrading a simple FFT > tuner I made to work like this. > > I built a simple little test environment that is by no means robust but > "kind of works". I calculate the frequency spectrum with the FFT every > 0.1 seconds and examine certain ranges of interest for each string. The > biggest problem is that overtones from some of the lower frequencies > collide with the area of interest of other strings. For example, one > overtone from the A string is right between the high E and its closest > sharp semitone (F). This creates two peaks in my area of interest for > the high E string. This makes it difficult to discern which peak is > from the actual E string and which one is from the A string. > Furthermore the low E string has a pretty strong harmonic on the high E > string. Am I taking the wrong approach? > > I can provide some plots from my software if my explanation wasn't > clear... > > Any ideas? I just want to make a single-string tuner so that I can install it in a case shaped like a fish. .. .. .. Tuner-fish -- get it? -- http://www.wescottdesign.com
From: Cirrus on 27 Jul 2010 10:29 Yeah, hysterical. Wit like no other. >On Mon, 26 Jul 2010 06:27:06 -0500, Cirrus wrote: > >> Hi All, >> >> I'm a software engineer and musician who has always been keen on >> learning more about the meshing of these two fields. I've been studying >> DSP for personal interest (I've created a couple fun software >> experiments like synthesizers, drum machines, tuners). I just recently >> acquired one of these cool PolyTune tuners: >> http://www.tcelectronic.com/polytune.asp >> >> I've been so impressed by how well it works that I've tried my hand at >> figuring out the math to this myself. I tried upgrading a simple FFT >> tuner I made to work like this. >> >> I built a simple little test environment that is by no means robust but >> "kind of works". I calculate the frequency spectrum with the FFT every >> 0.1 seconds and examine certain ranges of interest for each string. The >> biggest problem is that overtones from some of the lower frequencies >> collide with the area of interest of other strings. For example, one >> overtone from the A string is right between the high E and its closest >> sharp semitone (F). This creates two peaks in my area of interest for >> the high E string. This makes it difficult to discern which peak is >> from the actual E string and which one is from the A string. >> Furthermore the low E string has a pretty strong harmonic on the high E >> string. Am I taking the wrong approach? >> >> I can provide some plots from my software if my explanation wasn't >> clear... >> >> Any ideas? > >I just want to make a single-string tuner so that I can install it in a >case shaped like a fish. > >. > > > >. > > > >. > > >Tuner-fish -- get it? > >-- >http://www.wescottdesign.com >
From: brent on 27 Jul 2010 23:57 On Jul 27, 10:29 am, "Cirrus" <luigi.rosso(a)n_o_s_p_a_m.gmail.com> wrote: > Yeah, hysterical. Wit like no other. > > > > >On Mon, 26 Jul 2010 06:27:06 -0500, Cirrus wrote: > > >> Hi All, > > >> I'm a software engineer and musician who has always been keen on > >> learning more about the meshing of these two fields. I've been > studying > >> DSP for personal interest (I've created a couple fun software > >> experiments like synthesizers, drum machines, tuners). I just recently > >> acquired one of these cool PolyTune tuners: > >>http://www.tcelectronic.com/polytune.asp > > >> I've been so impressed by how well it works that I've tried my hand at > >> figuring out the math to this myself. I tried upgrading a simple FFT > >> tuner I made to work like this. > > >> I built a simple little test environment that is by no means robust but > >> "kind of works". I calculate the frequency spectrum with the FFT every > >> 0.1 seconds and examine certain ranges of interest for each string. > The > >> biggest problem is that overtones from some of the lower frequencies > >> collide with the area of interest of other strings. For example, one > >> overtone from the A string is right between the high E and its closest > >> sharp semitone (F). This creates two peaks in my area of interest for > >> the high E string. This makes it difficult to discern which peak is > >> from the actual E string and which one is from the A string. > >> Furthermore the low E string has a pretty strong harmonic on the high E > >> string. Am I taking the wrong approach? > > >> I can provide some plots from my software if my explanation wasn't > >> clear... > > >> Any ideas? > > >I just want to make a single-string tuner so that I can install it in a > >case shaped like a fish. > > >. > > >. > > >. > > >Tuner-fish -- get it? > > >-- > >http://www.wescottdesign.com While I agree that he can come across as a legend in his own mind.... Seriously, if you did put that in a fish shaped box it would be pretty cool.
From: Cirrus on 28 Jul 2010 00:26 ...with a yellow fin, maybe. Even though I'm likely wasting time, I'll post a little more of what else I've tried since my first post... I tried examining the phase of each peak in the spectrum when letting one string ring out. I was hoping there was some form of relationship amongst the phase of the fundamental and that of each harmonic in order to try to determine whether or not the peak is coming from an overtone or not. There doesn't seem to be any consistent relationship. However, in the samples I've recorded so far there does seem to be some form of a relationship amongst the intensity of the frequency peaks for the fundamental and the ensuing overtones. I suspect that this will greatly change depending on the type of strings used and how new/old they are, so I'm not sure how deterministic and useful this observation really is. >On Jul 27, 10:29=A0am, "Cirrus" <luigi.rosso(a)n_o_s_p_a_m.gmail.com> >wrote: >> Yeah, hysterical. =A0Wit like no other. >> >> >> >> >On Mon, 26 Jul 2010 06:27:06 -0500, Cirrus wrote: >> >> >> Hi All, >> >> >> I'm a software engineer and musician who has always been keen on >> >> learning more about the meshing of these two fields. =A0I've been >> studying >> >> DSP for personal interest (I've created a couple fun software >> >> experiments like synthesizers, drum machines, tuners). =A0I just recen= >tly >> >> acquired one of these cool PolyTune tuners: >> >>http://www.tcelectronic.com/polytune.asp >> >> >> I've been so impressed by how well it works that I've tried my hand at >> >> figuring out the math to this myself. =A0I tried upgrading a simple FF= >T >> >> tuner I made to work like this. >> >> >> I built a simple little test environment that is by no means robust bu= >t >> >> "kind of works". =A0I calculate the frequency spectrum with the FFT ev= >ery >> >> 0.1 seconds and examine certain ranges of interest for each string. >> The >> >> biggest problem is that overtones from some of the lower frequencies >> >> collide with the area of interest of other strings. =A0For example, on= >e >> >> overtone from the A string is right between the high E and its closest >> >> sharp semitone (F). =A0This creates two peaks in my area of interest f= >or >> >> the high E string. =A0This makes it difficult to discern which peak is >> >> from the actual E string and which one is from the A string. >> >> Furthermore the low E string has a pretty strong harmonic on the high = >E >> >> string. =A0Am I taking the wrong approach? >> >> >> I can provide some plots from my software if my explanation wasn't >> >> clear... >> >> >> Any ideas? >> >> >I just want to make a single-string tuner so that I can install it in a >> >case shaped like a fish. >> >> >. >> >> >. >> >> >. >> >> >Tuner-fish -- get it? >> >> >-- >> >http://www.wescottdesign.com > >While I agree that he can come across as a legend in his own mind.... >Seriously, if you did put that in a fish shaped box it would be pretty >cool. >
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