at a certain point i lost the interest in making music - somewhere in my early 30's.

[aeva@mastodon.gamedev.place]

@lritter well, being at work right now is the reason not to get started, but I find being in a dreamy state of mind can enhance the experience of computer science

[lritter@mastodon.gamedev.place]

@aeva okay. so https://en.wikipedia.org/wiki/Datalog#Example

read only the example section. this is the entire language. this is not an intro, a sneak peek (sorry for the typo, a sneak peak is something else), *this is it*. when you have understood the example, you have understood datalog.

[aeva@mastodon.gamedev.place]

@lritter how does one do math with this

[lritter@mastodon.gamedev.place]

@aeva suggest a way

what kind of math do you want to do?

[aeva@mastodon.gamedev.place]

@lritter audio math

[lritter@mastodon.gamedev.place]

@aeva welcome in my present cell. the food is terrible and the view is even worse.

no i joke, i'm just drawing a blank at the moment. i'm now trying to relax, do something else and hope for an epiphany to catch me.

[lritter@mastodon.gamedev.place]

@aeva it would probably be easier to enumerate the shit ways to do audio math in datalog and by that figure it out.

but first, i need crepes in my stomach.

[lritter@mastodon.gamedev.place]

@aeva name one specific kind of audio math

[tomf@mastodon.gamedev.place]

@lritter @aeva x = (x + 1e-36f) - (1e-36f)

:-)

[lritter@mastodon.gamedev.place]

@TomF @aeva that's only interesting for boundary conditions. doesn't sound very nice.

but fine:

t(i1,x1) :- t(i,x), fadd(xx, x, 1e-36f), fsub(x1,xx,1e-36f), iadd(i1, i, 1).

[tomf@mastodon.gamedev.place]

@lritter @aeva You shouldn't hear anything. It's to remove denormals from the audio stream, which can produce 100x speedups on some CPUs.

[lritter@mastodon.gamedev.place]

@TomF @aeva silence doesn't sound very nice.

also y u no fixedpoint?

[tomf@mastodon.gamedev.place]

@lritter @aeva Audio is a PERFECT use for floating point, because the value 0 absolutely means something special, and having more precision near it is very useful.

[lritter@mastodon.gamedev.place]

@TomF @aeva why is it useful?

[farbs@mastodon.social]

@lritter @TomF @aeva The nonlinear relationship between perceived loudness and signal amplitude means precision is more important for quieter sounds, and audio signals are usually centred around zero to reduce clipping.

[lritter@mastodon.gamedev.place]

@Farbs @TomF @aeva what does that matter after a 16bit mixdown?

[farbs@mastodon.social]

@lritter @TomF @aeva
Oh yeah. Whoops. Looks like I was wrong there, sorry.

But it does matter before and during mixdown (DSP and dithering).

[lritter@mastodon.gamedev.place]

@Farbs @TomF @aeva why?

[tomf@mastodon.gamedev.place]

@lritter @Farbs @aeva So that you can have intermediate volumes during the mix that won't introduce clipping or quantisation when having a second volume applied afterwards.

But you know this - you have made plenty of music.

[jkaniarz@mastodon.gamedev.place]

@TomF @lritter @Farbs @aeva I’m not so sure float is actually improving anything. 14-bits is all you need for the final mix. 24-bits lets you record a whisper and a jet engine without having to adjust the gain between takes. 32-bit lets you have all that plus room to cover accumulating quantization error in you DSP chain. Fixed point is fine. I think it’s more about hardware performance or developer convenience than sound quality.