keymasta

Special shout-out to HN-member, luka! After finding me online, he diligently helped me regain access to my account! As of just now I have logged into my gmail account!

So all's well that ends well. It sure helps to know where to find smart and considerate people that can actually help, like on HN. I don't know what I would've done had I not had that option.

Now I just need to verify myself with my brand new phone which is used and there's no info about the previous owner. So now I'm into chapter 2 of my phone adventure. That's a lot better than it was when I made this post!

This site is a lot like how I remember ultimate guitar, being that you can look up tabs and access them. I hope people keep uploading more tabs because ultimate still has a larger volume

[0] https://justgetflux.com/

I'm also wondering if you've considered some music theory functions like for example highlighting the midi grid along to some scale, which would allow "snap to" (next in key note). If you're curious, I have familiarity with this end of things so feel free to pick my brain.

Prose is mostly focused on describing meaning using any words that serve to do so.

Verse is more concerned with structural factors like rhythm, tonality, and structure within syllables, or within types of sound, or parts of speech. Other linguistic devices which look at details beyond the strict meaning of the words, like rhyme or many other factors (you could even use visual spacing for example) can be considered in verse.

Within verse there's the concept of iambs. I think of it as a tuple of two syllables which are said, weak-strong. Pentameter means ten syllables, and iambic means in groups of weak and strong. Most of Shakespeare is written like this. Also English naturally sounds iambic a lot of the time.

Iambic pentameter sounds like this:

  I watched a bird attempt its beak upon
  The end of fake too-moist baguette in vain
  For it was sick of stale McDicks tossed on
  It endlessly maintained its rationed pain

  While others in its bobbing flock for scraps
  Of birds fought for the thrill squawked on and on
  Till cannibals among their kind rejoiced
  To find cousins in mayonnaise so long

Or like a particular Shakespearean sonnet [0]. Or like any of them, [1]

[0] https://shakespeare.mit.edu/Poetry/sonnet.I.html

[1] https://shakespeare.mit.edu/Poetry/sonnets.html

[2] https://www.poetryfoundation.org/education/glossary/shakespe...

This might better be described as arpeggiating C#m second inversion or even C#m/G# in the right over C# in the left...

This is getting possibly-weird but you could call it an arpeggiation of G#sus4(#5)/C#

This may be a pedantic clarification, but that is the definition

Unfortunately I'm type 1 diabetic which is either a death sentence there, or you are rich. But then I also accidentally broke my collarbone this summer. And I had this weird throat infection.

As a type 1 diabetic I have had to go to the ER numerous times in my life, and as traumatising as that experience can be, I can't imagine the feeling of also being financially ruined for the pleasure of not dying.

It's weird, I know plenty of people who avoid going to the doctor because it's annoying to wait for over an hour.. but I could see that for an American you might just NEVER go. I guess it's like, ok someone in the family is sick, and we're not rich, so we will sacrifice them to the sun gods. Or I guess you go into indentured servitude? There are people for whom $100k is made very very slowly.

I just do not get it! I guess these things add up properly if you are very wealthy, but people here think that it's the function of the society to make sure you can have basic things like medical treatment. Of course it's not perfect here... try going to the dentist for example. Then you're almost in the USA. Somehow it's not considered medical. A long session could run you over $500 or more.

I have compassion for all the USAians out there! If I was USAian and planning to have a child.. I guess I would consider just going to a civilized country for a while, like... I don't know, Rwanda or Ghana or somewhere that can afford people to be alive(?). In seriousness though (as those countries are very far) you could just go North or South. It's closer. If you go to Canada, a lot of times you wouldn't even need to present ID.. you could just.. get treated right there by walking into a hospital, being triaged, and then waiting (admittedly for maybe almost a day).

Always bring fun things to the hospital if you aren't literally bleeding out all over the place, because you'll be in the waiting room for 12 hours if you're in a big city.

But when it's over you're alive and about as rich as you were before. Seems like a good societal deal to me. I'm scared of being trapped somewhere like the US honestly. It's a nightmare scenario. Although I'm sure it's pretty great if you're a billionaire with slaves and so on... but someone has to incur that cost (the slaves from the lower castes).

Personally I don't get it as for me, there is a clear difference not only between mp3 vs. CD, but even between different bitrates beyond that. Maybe I'm not typical as I've been usually listening to stuff through studio monitors and also usually through a recording interface which handles 192kHz and >24-bit.

Definitely I noticed on certain systems you aren't going to notice a difference as the system itself is the bottleneck (i.e, bluetooth). In my experience though if you use the right driver, so ASIO or WASAPI in Windows (or anything in Mac and Linux nowadays), I can tell the difference instantly on recordings I know well.

Most music did not get released in ultra HD but some things are available in 96kHz and beyond. I recommend checking out Radiohead, Bob Marley, or Pink Floyd in ultra-HD ( >= 48kHz, >= 24-bit) as there have been releases. I have found Bob Marley - Legend in 192kHz 24-bit and it sounds incredible. You can hear each individual member of the percussion section.

[0] https://en.wikipedia.org/wiki/Nyquist-Shannon_sampling_theor...

Sounds pretty swell!

I wonder if the spoon controller could be adapted to send modulation parameters to arbitrary instruments via a midi port. I would buy a spoon modulator if it was reasonably priced. It would be a great add-on to a piano style keyboard without pitch bend or mod wheel etc

My first impression is that this model thinks for a _long_ time. It proposes ideas and then says, "no wait, it's actually..." and then starts the same process again. It will go in loops examining different ideas as it struggles to understand the basic process for calculating notes. It seems to struggle with the septatonic note -> Set notation (semitone positions), as many humans do. As I write this it's been going at about 3tok/s for about 25 minutes. If it finishes while I type this up I will post the final answer.

I did glance at its thinking output just now and I noticed this excerpt where it finally got really close to the answer, giving the right name (despite using the wrong numbers in the set notation, which should be: 0,3,4,6,7,9,10:

  Check "Lydian #2": 0,2,3,5,7,9,10. Not ours.

Its notes are: 1 ♯2 3 ♯4 5 6 7

I find looking up lesser known changes and asking for a mode is a good experiment. First I can see if an LLM has developed a way to reason about numbers geometrically as is the case with music.

And by posting about it, I can test how fast AIs might memorize the answer from a random comment on the internet, as I can just use a different change if I find that this post was eventually regurgitated.

After letting ollama run for a while, I'm post what it was thinking about in case anybody's interested. [1]

Also copilot.microsoft.com's wrong answer: [2], and chatgpt.com [3]

I do think that there may be an issue where I did it wrong because after trying the new ollama gui I noticed it's using a context length of 4k tokens, which it might be blowing way past. Another test might be to try the question with a higher context length, but at the same time, it seems like if this question can't be figured out in less time than that, that it will never have enough time...

[0] https://edrihan.neocities.org/changedex (bad UX on mobile! - and in general ;)). won't fix, will make new site soon) [1] https://pastebin.com/wESXHwE1 [2] https://pastebin.com/XHD4ARTF [3] https://pastebin.com/ptMiNbq7

Or,

1 Note/Unison

2 Interval/Diad

>3 Chord

And, I agree an interval is essentially a distance. Distance between three points makes no sense as they might very well lay outside of one straight line. Even they are on the same line.. are we measuring the distance between each distance?

It's ambiguous what that might even mean, but the original poster might think of a collection of intervals which is 0 or more notes with intervals relative to a given root.

For example if you think in integers (pitch set notation):

  m6   { 0 3 7 9 } Minor 6
  5    { 0 7 }     Power Chord
  ma13 { 0 2 4 5 7 9 11 } Ionian
  N.C  { } No Chord/Rest
  °7   { 0 3 6 9 11 } Diminished Seventh/Dim Seven

  .. etc

Also note that 13 means two different things, either the septad above or a pentad of the form 1 3 5 7 13 aka 7(6) "dominant add six"

So in set notation it's:

  ma13 { 0 4 7 9 11 }
  13   { 0 4 7 9 10 }

  Etc..

But to get the chords I don't think you need to worry about that.

I started dabbling with vamp as well a couple years ago, but lost track of the project as my goals started ballooning. Although the code is still sitting (somewhere), waiting to be resuscitated.

I have had an idea for many years of the utility of having chord analysis further built out such that a functional chart can be made from it. With vamp most of/all the ingredients are there. I think that's probably what chordify.com does, but they clearly haven't solved segmentation or time to musical time, as their charts are terrible. I don't think they are using chordino, and whatever they do use is actually worse.

I got as far as creating a python script which would convert audio files in a directory into different midi files, to start to collect the necessary data to construct a chart.

For your use case, you'd probably just need to quantize the chords to the nearest beat, so you could maybe use:

vamp-aubio_aubiotempo_beats, or vamp-plugins_qm-barbeattracker_bars

and then combine those values with the actual time values that you are getting from chordino.

I'd love to talk about this more, as this is a seemingly niche area. I've only heard about this rarely if at all, so I was happy to read this!

But - I do want to say that C == green is not arbitrary at all. It is consistent with my calculations, which are consistent with Newton's calculations. Usually I see the colours being assigned to notes as wrong.. but this C == green is consistent with mapping light, using octave equivalence, given by the following:

  f_prime = f * 2 ** (i / 12)
  # Where, 
  # f' is the derived f, (in this case Green {5.66 × 10^14 Hz})
  # f is the reference f (in this case 261.63 Hz)
  # i is the interval in semitones

  light_range_min = 400 * 10 ** 9 # Hz
  light_range_max = 790 * 10 ** 9 # Hz
  C = 261.63 # Hz
  octave = 0
  for octave in range(100): # we are just using a high number here
      f_prime = C * 2 ** (12 * octave / 12)
      if f_prime >= light_range_min:
          octave = octave
          break
  print(f"C in the range of light has f == {f_prime}, which is {f_prime / 10 ** 9} THz. We had to go {octave} octaves up to arrive there")
  # outputs: C in the range of light has f == 561846146826.24, which is 561.84614682624 THz. We had to go 31 octaves up to arrive there

The rest of your commentary seems valid.

[0] https://en.wikipedia.org/wiki/Visible_spectrum

[1] https://sciencestruck.com/color-spectrum-chart

I know I can play with high musicality on almost any keyboards with velocity, because I was blessed to have learned to use bad instruments. But, it doesn't compare to the depth of the sound generated by all the moving parts and interactions happening in a real piano. Not only the sounds, but also the sheer weight of the keys.

Most* keyboards/vsts are just triggering a (pitch-shifted, looped) sample at a given note and then doing that for n notes and that doing an additive sum.

That is definitely not what occurs in a piano though. There you have the 3-dimensionality of the physical world, like the way waves are traveling through distance and shape. When sounds' harmonics interact, resonant nodes in overtone sequences can trigger each other to resonance, which can trigger other resonances throughout the tone. Maybe you know the feeling of depressing the sustain/damper pedal while sitting in front of it and giving the instrument a smack (or holding down the keys you are not playing and doing it). Or running your nail or a pick over all the low notes with sustain.. like you are in a cave.

In midi/digital, there's the fact that dynamic is usually gonna be 8-bit. Just because midi did that and it made sense at the time, other keyboards and VSTs mostly follow suit. I'm surprised this gets generally passed over. Obviously there's more than 128 strengths of note in real life.

But all that said I think it's possible to learn keyboards/music theory/songs/playing on a non-weighted keyboard, but false to say that digital/non-weighted is equivalent to acoustic piano. But you only really need that for really dynamic music like Jazz, Classical, Instrumental et al. But it feels so very wrong to play that kind of music on bad keyboards.

* Roland V-Piano, and PianoTeq, as well as many I'm unaware of do in fact use physical/acoustic modeling as opposed to triggering samples, but it has not been predominant even among high-end digital instruments

I feel like you forgot the primary thing that would help people to stop thinking of ending it: being able to afford necessities.

When I was selling gear just before my estimated time-line it was known to be basically Yamaha* or Peavey-ish company (does a very wide line of products at affordable prices), but "ever-so-slightly" crapish. Since then they have become a/the goto if you want essentially Moog or those other big names for less than 1 carrot.

I have a Prophet 5 v2 so no real need for me (in terms of analogue synth), but great to see this kind of stuff getting into the hands of more people.

Sure, the pots, etc. aren't quite as solid as the big ($) versions, but that kind-of doesn't matter at all, for a lot of use cases.

I might even get one of their thingies at some point. For less than the price of a beater car it's become a tempting case to have GAS [0] for Behringer [1].

[0] https://library.oapen.org/handle/20.500.12657/48282

[1] https://www.sweetwater.com/c510--Behringer--Synthesizers

*Yamaha actually makes a lot of very high-end gear as well, from piano to guitar, they have fairly extensive custom-shop stuff. I brought them up because, in addition to handling mid and high-end gear, they always made really quality entry-level gear as well.

Is this totally necessary? My question is genuine. I don't know much about font programming.

> I’ll add the option extend the list, and see if I can find a better list of defaults.

If the values have to be hard-coded. If you can get me a contact info, I could send you the master list of chords.. maybe you could use that. My username is not really figurative.

I could see multiple "versions" of the font. There are different conventions one could use to spell chords. Even something like Hal Leonard vs. Sher use different conventions. There's symbol shorthands, like writing aug vs. + or even ma7 vs. '△7'. Dim vs. a circle. There are quite a few different ways to do it so I think it could be cool if you could pick a version. But I could be overcomplicating this.

> I think a more “advanced” use case like the one you described can be addressed by something like https://lilypond.org

Lilypond is a music engraving system. That means that it is producing sheet music. That isn't really overlapping with what you're making as that is not sheet music, but more of a shorthand. I'm actually more interested in the kind of approach you're doing, as I hate sheet music. For me, what music notation needs is simply the chord, and the time. That's why I mentioned the use of '|' to indicate bar lines. Actually writing down and reading individual notes is something that basically takes years to learn, and I don't consider it in line with my (subjective) definition of modern music. Usually by the time people learn to read sheet music, they've completely missed real "playing", with all the effort going into sheet music instead. If you're someone who improvises, you just need the harmonic structure (chords over time).

So another question which might be simple-to-answer would be, can we make a font that just has some kind of thing (glyph, symbol, unicode code point) which raises the thing above the thing? Or do we absolutely need to hardcode it.