This could be an exclusive unit that is only possible in MG3 because of the real-time data detection and control of the audio input data. It could therefore be an exclusive unit in MG3 that can manipulate the audio signal of the clean guitar input or microphone input with the help of the determined data of the audio signal on pitch/velocity etc. the audio signal itself.
I could imagine various applications:
A pitch-dependent high-pass/low-pass or band-pass filter that, like Midi Pitch Filter, only lets the audio signal through for certain pitch ranges. This could, for example, allow the guitar signal to be heard from e2 to e3, and from e3 to e4 to be blocked as inaudible audio, but the audio input signal should still be usable for Midi control of the synthesiser, which means that only pure synth sound can be heard from e3 to e4 (without guitar signal).
The data obtained from the audio signal could be used to manipulate the audio signal itself, e.g. for pitch-dependent reverbs, delays, tremelos etc.
Algorithms could be developed for the MidiMachines that enable new, previously unknown audio effects, e.g. morphing and others.
Depending on the number of notes played, different strengths of reverbs, delays, chorus etc. could be created for original clean audio signals and synth signals, e.g. to improve the transparency of polyphonic chords, or when bending solo notes more reverb or delays than by playing chords
Hi Paul, but can’t you do much, much more with Deep Expressor and similar things, as you already show with your own SPACE GUITAR application, if you combine these things with the unique audio recognition of MIDI Guitar 3 and intelligent algorithms of MidiMachines in MG3 in an organic, playable way?
yes ofcourse you can expand endlessly! But for a dev the task is to present usable building blocks, that is: you can spend months on stuff that nobody really uses… e,g, A very nifty filter in the frequency domain might be superseeded by a very simple filter in the “normal” time domain, it all depends whether new options also produce really new sounds and playfeels. And that is not allways clear at forehand…
Years before the dev of Deep Expressor, I had prototyped and discovered this useable setup with drawbars, using Csound for applying MIDI knowledge to the original guitarsound, and a Roland GR30 as a MIDI source. So I knew it was a working setup before implementing it.
If JO makes MIDI notes available on the normal FX slots (as an option), any programmer can make its own MIDI controlled filter setup in a plugin, it is not difficult.
ofcourse it would also be an option to have a “sidechain” with original audio to the synth plugins. That would also make vocoder options possible inside MG3. Then you could choose whether the guitar or mike channel is sidechained to the synth plugin.
The worlds is your oyster, indeed an endless space to explore with both audio and midi available in real time.
I think the most interesting path is morphing guitar into other things. This can beautifully combine a zero-latency/fully dynamic/natural attack with a morphed sustain based on the guitar audio.
I spent a few years on such technology already and it’s probably coming as an extension to MG3 when everything else have been finalized.
Thank you @JamO for your time and your wonderful outlook for the future.
Will all these things also be possible for bass and 7/8-string guitars?
Of course, we customers and players don’t know whether a DSP wizard like you is only a few clicks or years away from the dreamed-of feauture
So I will continue to post feauture requests and hope that most of it happens invisibly under the bonnet and that the user interface remains easy to use.
