TOPIC: Can only hear some notes in this instrument

I suspect the offsets are referring to the samples and are a number added or subtracted to the sample number. Perhaps useful if your sample has a silent gap at the beginning. An offset could make it start to play when the sound really begins and not play the silent bit.

I agree with Bottrop, forget about Viena (it has only one 'n'). It is very old and Polyphone works much better. However I do not agree with him about stereo. All musical instruments produce stereo sound and if you do not record stereo samples your sound font will be inferior to one which uses proper stereo samples.

csw900

well CSW, i am always happy to learn something, so tell me how a flute produces a sound for my left ear and make sure that sound does not reach my right ear and at the same time produces a sound for my right ear and prevent my left ear from hearing it?
regards bottrop

Actually, bottrop is right on one hand.
It is absurd to use the same mono sample separately for both left and right without any parameter adjustments. This means twice as much use of parameters. //plus: each sample you add is counted as a used parameter also.
In the "sample end offset" sections, there is an attempt to set something up to avoid overlap because the same samples is used twice, but the attempt was unsuccessful.

If you only have mono samples and you absolutely want to make something stereo looking, some touches can be used for this. one of these is available in the attached soundfont.

Stereo is not all nonsense in a soundfont. Well to me if an instrument has dual samples it sounds fuller and louder. I am with you that the computer and person will need to work twice as hard.

This sounds about right as the number is slightly larger than the sample size not sure why it is negative. No way for me to tell if there is a silent gap anywhere in the samples. I held notes of the inaudible 41-56 and 63-127 for a more than a minute but no sound.

Yes i do agree with some things, but I think you mean Vienna (with two 'n''s) is the very old one and Polyphone beats that. Not so sure on stereo it is a bit tricky. And any sound can be stereo but not on its own and it will need to output from 2 speakers. I guess that must be why stereo samples sound better than mono to my ears.

I'm not 100 percent sure on this but I think the difference from mono to stereo is that the sound is equally heard in your left and right ears. Of course any sound is going to enter both your ears unless you shield or block your ears in some form or way.

Yes, some points are sent across well.
That is true and we can see in the Normal.sf2 file I uploaded each L sample is panned to the hard left with -50 and each R sample is panned to the hard right with +50 also. Yes more parameters but it is useful in here.
I really have no clue what the "sample end offset" sections are trying to pull off, but it ends up canceling out the sound so that the attempt is not successful.


Yes most of the time I'm stuck with mono samples only although I never recorded my own soundfont yet. The tricks used in the attached soundfont make it sound louder too.

here is the idea of offsets; three samples in one .wav file, all keys use this same .wav file

keys 59-61
for sample one start 1, end about 38108 (for some reason end offsets wont stick in my version (1.9), they turn to 0 after enter. i am not going to find out why because i am never going to use this stupid system.
loop settings

keys 62-64
sample start 46464, end about 39000 etc.

regards

If you have real Stereo samples, there are several situations that make them stereo.
a. They were recorded with two microphones equidistant and separated by at least 1 or 1.5 meters.
b. One was recorded from where the sound was made, and the other from a different place. // For guitar: one microphone is in front of the sound hole and the other is in the middle of the neck.
c. One microphone was close and the other far-away.

It is not recommended to set them as "-50/50" or exactly "L/R", except for the "a" option.
Because in option "b": sound-hole/neck-sound mix will be made. // A value like "-12/12" or "-6/6" might hold this better.
In the "c" option, it is aimed to adjust the far-near (timbre) setting. By increasing the attenuation of the near microphone and decreasing that of the other, it can be made to sound farther and vice versa. This setting adjusts the distance to the stage. With the L/R option here, it allows to adjust the right/left position of the place we stand in the hall in 3D.

If both samples are exactly the same, then we cannot talk about stereo. There are two identical mono samples and it has no effect on stereo.

In any case, the aim is to trick the brain in line with the desired purpose by giving different samples to the ear. : eg: a sound to the far right, whether the place where we listen to the guitar is near the sound hole or the handle, the sound reflection and absorption properties of the hall walls are different compared to the place where we listen in the hall, etc. This is why stereo samples sound fuller.

Of course, it is also possible to ignore all the parameters of the auditorium, use the instruments as mono, and adjust and pan the other necessary effects externally during mixing.