Making sense of fluid.ampslice~

Now that fluid.ampslice~ is up and running (minus the zippering while changing parameters…), I want to try to make sense of it to start using in my patches.

I’ve gone through the (significantly improved!) helpfiles, but I still find it profoundly confusing.

Some kind of visual reference would be super welcome, but beyond that, I’m having a hard time figuring out how the separate envelope followers (and their thresholds) interact. The fact that you can’t scope~ around inside the code also complicates things.

Here’s a patch I mocked up which has what I think the topology is inside fluid.ampslice~, but I’m not sure. I don’t really know or understand how the separate envelopes/thresholds interact nor how to set the settings to get something useful out of it. The zippering while exploring the settings doesn’t help for sure.

(for the sake of simplicity, and my general interest, it’s mainly the two envelope followers and threshes that I’m interested in, not the lookahead/behind stuff)


----------begin_max5_patcher----------
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-----------end_max5_patcher-----------

I also included some trickier bits of test code from the previous thread as it would be good to see how fluid.ampslice~ fares with stuff like that, but as it stands, I can’t get it to respond to brushes.aif at all…

Hello

So I’ve explored your patch a bit. You can get pretty similar results when you give all parameter similar value…

[fluid.ampslice~ @highpassfreq 110 @absthreshon -70 @absthreshoff -70 @minslicelength 1764 @relthreshon 15 @relthreshoff 10 @absrampup 2205 @absrampdown 2205 @relrampup 5 @relrampdown 1103]

but not 100% similar. I will investigate further.

Oooooh, I see. Man, that’s really confusing.

The @relrampup and @relrampdown = the “fast” envelope.
The @absrampup and @absrampdown = the “slow” envelope.

The @relthreshon and @relthreshoff = the “thresh~” of the differential between the relative and absolute envelopes.

And the @absthreshon and @absthreshoff have nothing to do with the @absrampup and @absrampdown really, and more refer to an absolute cuttoff floor when the detection will not fire?

I wouldn’t have gotten that from the helpfile in a million years…

It would be super useful to include a vanilla Max version of it in the helpfile to show what’s what, with some scope~s in there to show how to tweak settings and such.

Lastly, these settings for fluid.ampslice~ don’t work at all with any of the other examples at the top of the patch.

it’s interesting you don’t get the helpfiles. Have you read all of it from the top? It answers explicitly all of the questions you still have, with examples, visual and auditory…

yes, these are artificial (digital silence to spikes) so we will investigate eventually. Something to do with how smoothing happens. It’s already on the radar of @groma

The helpfile is pretty short, so I read through it several times, and the same with the reference file.

This is what the @relrampup reference file says:

The number of samples the relative envelope follower will take to reach the next value when raising. Typically, this will be faster than absRampUp.

I don’t know what that means (in terms of what it does in the object). The “this will be faster” helped me deduce that this is likely the “fast” envelope, otherwise I wouldn’t have known which was which.

Without knowing the topology, or how the different components interact, the (thousands of!) parameters don’t make much sense.

Three of the tabs use slow sine waves to show what’s going on, with several of the settings (steps 4/5 on the first tab for example) make buzzing noises while they are engaged (10ms crosstalk).

(I think this may be a typo in the help file. Should there be a reset in every message? This sets everything to default states instead of the @instantiation values. So the message reset, minslicelength 441 clears everything and sets only that one parameter)

The one real-world example has two examples, with wildly different values for the abs and rel versions of the thresh-es, so I don’t really know what makes the big difference between the two.

Interesting. Surprisingly that it would fail to find something at all since the changes in dynamics still happen, just more pronounced.

I revisited this today on “real” audio to see if I can get better-than-the-vanilla-Max-version performance with fluid.ampslice~.

With the settings above, I can get pretty much the same behavior, although as mentioned above, it no longer works on synthetic signals, but I can’t get it to track anything <100ms.

I’ve massaged around a bunch of the variables I think should impact things, but without any feedback (visual or otherwise), I’m just guessing at random numbers.

Attached is one of the audio files I’m testing with. (the non-mp3 version wouldn’t upload due to size)

Also, just checking back on this to see if this is a bug in the code, or a typo in the helpfiles, because the behavior seems unintended.

sped up rolls.mp3.zip (624.8 KB)

I don’t think that’s what I’m seeing here. Does this not work for you? :


----------begin_max5_patcher----------
541.3ocyVEriZCCD8bxWgkOmhhcBPROwOP+BpppLICf2lXmZ6PY0pse60wNQ
.KYYoKKn8RPyKimYduYFGdJL.uTtCzXzWQeGED7TXPfCpCHn2N.Wy1UTwzN2
vEx5ZPXvQ92YfcFGtdirspDo.MXPFIZAxFGzVVUqM98NWwEPgrU3NAsGTzVy
EUfwEdxdPYqY.MtGkW5Rkb4CegjNDzFloXCWr9mJnv3YBY17IwQnbR2Sxz3t
eRRlDi9Q+YzlGq.Wrvc.OGF18H5Jkfuw9EfzxZ.UxWsBTVetgB.8LBPRZdGm
SytMBPMn0r0vIBfq4iGiVzQoE4TZkct1JIaeaMw0hozCHkOxlGa.u+X7Mlua
3q2zXcZkB9sUys0CaoVwpaZarbCY4uthW.UfXsYCJI95jljyHMynt9sqqSmm
e+jFA7GaschxrppkWNwpDNA3unEGHLInEGIbDZLZwKzpzTB9xWOnird71yQT
heIId5aKWZ9ZAqBG8wIbLiQ0xGpxNKO7fN8eP+QlUN2siT+8AD5zCtc39Ls7
Jj93l+0w77Kf4S+zv7CWDtNdShu.hm8wQb2qceP6E+8AW56vOVMzxVUwPvGJ
Xz9BnDzFtfY3RwgN48YTA+RST9cJOI2o7jdmxS16JO94BVSyVPo6c1kB69vC
R2T+7HmIW3MSblJXKev+TGBSYGiM1Y3Vke7aW1Lr+nxRPIrqScqBgcY94v+A
XiChK.
-----------end_max5_patcher-----------

Ok, that is working.

It was a bit since I was messing with that part (of my original post), but since it appears to be working, I find the first tab of the fluid.ampslice~ helpfile kind of confusing. (buttons 4/5 just make synth sounds).

I’m not sure how what’s being shown in the first tab is useful, or at minimum, the most useful thing to show on the opening tab of a help file.

(and I guess because of dyslexia, I had to look at 4/5 for a solid minute to realize that they weren’t saying the same thing…)

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Thanks for the feedback. Yes, I’m unsure about how informative that bit is as well, and am going to prepare some diagrams to share between help file and KE web site. My instinct is that the musical example, slimmed down somewhat, might be a better thing to open with. And yes, minslicelength and minsilencelength are a bit hard to distinguish.

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Getting a bit OT but in general the first tab should always be a musical example, with the didactic stuff coming later on.

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Oh, as a follow up that I was reminded about in thinking about the other thread on extracting amplitude information from fluid.ampslice~ is that something that would be super useful in the helpfile would be a vanilla Max implementation of the core algorithm, to help adjust thresholds visually.

Like, this is invaluable for finding the right settings for everything:

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Has this moved forward at all?

Or any clearer info/explanation/diagrams (from @weefuzzy or @tremblap).

I’m still using the oldschool abstraction version since this isn’t a drop-in replacement (due to not working on digital silence) and I still can’t really make sense of all the parameters and how they interact.

soon, on the todo list. Toolbox 2 and KE for TB1 are priority and keep us busy quite a lot…

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I finally started using fluid.ampslice~, though it is in one of my auxiliary patches tied to some pitch analysis. I wanted to try to at least implement it somewhere to help me understand some of the parameters a bit better.

It works in this context as what I’m feeding it has super sharp transients, and it’s only a cog in a system of pitch tracking -> coll storage for later use, but tweaking the parameters still feels like shooting in the dark. I’m kind of poking at random when I change settings as to what kind of impact it’s having, and many settings that seem to work fine produce zipper noises in other places, so it’s still too much of a gamble to incorporate into my main patch/dsp stuff.

I’m imagining there will be no (significant) updates to this in terms of how it responds with “synthetic” material (i.e. where silence is computed from) and/or getting some general KE/diagram/clarification stuff before TB2/“the concert”, is that correct?

It’s a shame as this is one of the objects/ideas that I saw myself implementing immediately across all my patches (, particularly if tightly couple-able with fluid.loudness~ to get immediate loudness data).

edit: :frowning:

It is on the priority improvement list, which is the 3rd list on the meta list after toolbox2-metalpha and toolbox1-RC :wink:

I’m using it with synthetic material (pulsar stuffs) which is even giving me interesting results when some of the individual pulsars are not even audible. But I’m on the ‘I’ll use it for what it gives me’ side of things, so not very helpful for this thread, I’m afraid. Put me in the OG camp. But you knew that…

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What will happen when it is fixed?! My guess is that the weird behaviour on quiet stuff is the object’s inability to deal with digital silencio.

That is an interesting question. @groma and @weefuzzy might have different answers to the suggestion that there is a @vintage attribute :wink:

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Would a @vintage flag just mean “does not work with digital silence?”

I’m mainly interested in having a better way to understand and set parameters, since that’s the most apparent problem for me. If I set the Max-land version and the fluid. version to the same parameters, I don’t get the same results (due to digital silence), which is where I’m stuck on trying to understand things since I can monitor thresholds and such in Max-land more easily.

So I’m curious how this will be handled/possible (like if you will show the internal signals via an output(s) or if you will have a Max-land patch next to it which shows the same numbers so you can tweak your settings). A tricky interface problem to solve.

A little bit of a comment off this post here, since it’s relevant here.

I can only assume (hope!) that something similar is planned for this object, as among all of them it’s still the most obtuse to tweak for me.

As a point of comparison, yesterday I was tweaking some thresholds in my performance patch since I’m using a different bass drum for the trigger here for rehearsals, and being able to see all of this was invaluable:

I shudder to think how long it would have taken me to find the appropriate setting changes in fluid.ampslice~. I literally would have been turning knobs randomly hoping for it to work better.

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