https://www.adobe.com/products/flash.html

Due early 2016, so I thought it would be the right time to ask. I don't know how big this really is, I just don't want to see Construct losing customers because of this competitor. On the other hand, the professional grade of the tool can't be denied. I'm really in doubt. Will this have an impact on the success and progression of Construct?

You are probably right. It may be a mashup and I have to give up finding the author.

KyleWilliamson

Thanks for the tip. Indeed there are voice similarities.

>

> > Is it really impossible to find out the original artist of this cover? It is produced, it is well done, nobody recognizes it?

> >

> Reasonable bump.

>

Nope it's not impossible, it's these guys :

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Did you listen to the link in the first post? Those are two totally different songs. <img src="{SMILIES_PATH}/icon_e_wink.gif" alt=";)" title="Wink">

Is it really impossible to find out the original artist of this cover? It is produced, it is well done, nobody recognizes it?

Reasonable bump.

newt

I like some of ZZ Top's music, but it's the non-mainstream ones that attract me. Their 80s/early 90's stuff is not so impressive, while something like the best guitar riff ever, La Grange, is awesome. The real deal is Gibbons' blues groove!

Is it really impossible to find out the original artist of this cover? It is produced, it is well done, nobody recognizes it?

Hey all,

I need your help. When I was a kid the only music I could listen to were on the old 45rpm records my father had. One of the first songs I ever heard was "Sixteen Tons", originally by Merle Travis, but I listened to the famous Ernie Ford version.

By accident I found a hardrock cover on YouTube, that is just freaking awesome. The problem: The video is a fake. It is edited from footage of Jeff Beck and Billy Gibbons (from ZZ Top) playing Foxy Lady. I don't care much, but the maker of the video did not reveal who really made this cover. And all the comments are also wondering. Nobody seems to know this version. So see me begging: Please, listen to this version (close your eyes to not get distracted by the video). If you don't know it, you will listen to it several times just because it is so driving. But if you know it, please tell me the artist(s) of this cover!

rojohound

Thanks a lot for the link. Very cool approach there. But it is basically prerendering sound for an octave and then triggers the according note-sound. A runtime calculation of the sound (to be able to modulate it), is not possible with it. Still, it is a cool addition to C2!

Animmaniac

I'm impressed! You are more lightweight in terms of processing, but generating good results. You're right with breaking the smaller spike, but considering the smaller cpu footprint it is probably acceptable.

The calculations used in the wavecycle have something special. After that talented guy made a first impressive demo, I insisted (yes, I can be that annoying) that all spikes in either direction should always behave convex (as in "bend to the outer sides"). And he did it. Even at extreme offsets it stays intact. Here are some screens taken from a scope while playing the osc (you see approx. 2 cycles):

wave at offset 0.0

wave at offset -0.5

wave at offset +0.5

wave at offset +0.95

This behaviour is the reason for that warm sound even when the harmonics kick in. It is done in two parts. The second part is called "sine approximation", but it is pure assembler code, so I can't tell how it is approximated:

streamin x;	// -1...+1
streamout cos1x;

/* minimum harmonic distortion */
float c1=-6.280099538;
float c2=41.10687865;
float c3=-74.00457656;
float FMP25=-0.25;
float FP25=.25;
int abs=2147483647;

movaps xmm0,x;
mulps xmm0,FP25;
subps xmm0,FP25;
andps xmm0,abs;
addps xmm0,FMP25;
movaps xmm1,xmm0;
mulps xmm1,xmm1;
movaps xmm2,c3;
mulps xmm2,xmm1;
addps xmm2,c2;
mulps xmm2,xmm1;
addps xmm2,c1;
mulps xmm2,xmm0;
movaps cos1x,xmm2;[/code:289shwv0]

The first part, however, is in a C-like DSP code. These calculations are done for each sample point at sample rate (the rate can vary depending on the DAW, but most will use 44.1kHz):

[code:289shwv0]streamin f;
streamin m;
streamout wav;
float ramp;
float ma,mb,a,b,f2,mm1;
float abs;	// bitmask

stage(0){
  abs  = 3.4e38|0.999999|0.1;
  ramp = 1 - m - 2*f;
}

stage(2){
  hop(32){		// some abreviations to speed up the iteration
    f2  = 2*f;
	mm1 = m - 1;
	ma  = 1/(1 + m);
	mb  = 1/(1 - m);
	b   = (1 - (abs&m))/(1 + (abs&m));
	a   = 1 - b;
  }
  ramp = ramp + f2;
  ramp = ramp - 4&(ramp>2);									// ramp (-2...+2)
  wav  = abs&ramp + mm1;									// biased triangle (m-1...m+1)
  wav  = wav*ma&(wav>0) + wav*mb&(wav<0); 					// "PWM"-triangle (-1...+1)
  wav  = wav + (wav/(a*(abs&wav) + b) - wav)&((m*wav)>0);	// rational mapping of long halfwave
}[/code:289shwv0]

stage(0) is like an initialize-procedure. It is only executed once per new note. stage(2) is executed on each sample point. hop(32) means that all enclosed code is only calculated every 32 sample points. The streamin f is an input which is a mixture of frequencies for each note playing. The streamin m is the input for the current modulation value. Streamout wav is the  mixture of amplitude values for each note playing. Each ampersand (&) is a bitmask. It works a bit like conditionals, but with all bits set to 0 when false and all bits set to 1 when true. The result is then bitwise and'ed with the preceding variable.

At least at this point you probably see that I wouldn't have done this on my own...

megatronx

What ROJO said. Last time I asked about webaudio, Ashley stated that he will only use the parts that are compatible with all supported platforms. That also means it isn't possible to build a synth in C2 (yet?). Those with javascript knowledge might be able to, but I'm not one of those.

The dsp was done in another program, using SSE and a special coding that allows to do calculations per sample at samplerate.

If any of the fellow musicians is interested in the VSTi, when it is done, just drop a line. I'll pm you then when ready (may take months/half a year/a year).

To be honest i have no idea what it'll sound like so if you work it out i'd be interested to hear I assume it'll just start to exemplify strange harmonics as you shift the center, since this is what it'll be doing to the Fourier series

QuaziGNRLnose and R0J0hound

It was such a joy when I heard the oscillator playing for the first time! I made a quick mp3. No pre-editing, no post-editing, no mastering. What you hear is just one SWM-Sine-Osc, whose "center" is modulated by hand as well as by two serial LFOs. No Filters, no effects, nothing but pure Osc-Sound. The modulation does exactly what Rojo demonstrated in his capx (although the underlying dsp-code is somewhat different).

So much smoother and musically way better controllable than, for example, FM, and on my 7 year old pc the cpu load was between 0.3 and 0.7% during the sequence you hear in the mp3. Awesome! I'm in love with that oscillator.

Currently started working on a VSTi to see what else I can get out of those OSCs...

First impression.mp3

btw, SWM stands for Slope Width Modulation. But that doesn't perfectly describe it. If anyone has a better name for it, please tell!

(And sorry that this has gone beyond C2)

Ruskul

The list doesn't prove me wrong. For each of them I could post a dozen of nameless shiny hulls. On the mobile market, if you want to make a living, you have to hop on the freemium bus. And that is hard for small or single developer groups. And even harder, if you tend to another philosophy.

Freemium has already influenced the whole games industry, not just the mobile market. Don't pretend you've never seen AAA pc titles with IAP or product placement.

Really, the focus has changed. From "making something you are proud of" to "making something that generates money". Not true? How many flappy bird copies came out, how many match 3 games do you see, how many FarmVille clones are out there? Etc.

The evolution of the internet also has a great impact on the situation. Having flatrates for easy access 24/7 also means, people are looking throughout the web for entertainment. I stopped dreaming about that one great game I would create 2 years ago. I was looking at Kongragate and saw "games" that I would be ashamed of as the author. Many of them were pretty much like a four year old kid's graphics and gameplay-idea. It was then that I realized that quality doesn't play a big role anymore. It is just the fun for a few minutes that is of interest.

Game creation software does play a role in this. And the web being a platform for ads and not much more. Such games today aren't the child of a love affair, aren't created with passion. They are just the shiny hull for making money through ads.

You can swim with the wave or sink. I decided to lay down on an island, enjoying the sun.

R0J0hound

QuaziGNRLnose

ROJO you nailed it! The wave behaves exactly as it should inbetween the limits. I will now take a closer look at js.txt

Thank you both, ROJO and Quazi, for your effort and a solution to a more complex problem than I thought.

I did a Spline class once for Ruby (an interpreter oop language), and I can replicate the behaviour only to a degree with it (unless I change the controls). Unfortunetly I did it with cubic interpolation from spot to spot instead of polynomials (which I never really got used to), so this is really, really helping me a lot!