Connect up the ChannelsTogether option in R3 as well, to extend the channel lock range upward
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@@ -331,25 +331,30 @@ public:
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* the others in the case where the pitch scale is exactly 1.0.
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*
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* 11. Flags prefixed \c OptionChannels control the method used
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* for processing two-channel audio in the R2 engine. These
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* options have no effect when using the R3 engine. These options
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* for processing two-channel stereo audio. These have different,
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* but related, effects in the R2 and R3 engines. These options
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* may not be changed after construction.
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*
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* \li \c OptionChannelsApart - Each channel is processed
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* individually, though timing is synchronised and phases are
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* synchronised at transients (depending on the OptionTransients
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* setting). This gives the highest quality for the individual
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* channels but a relative lack of stereo focus and unrealistic
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* increase in "width". This is the default.
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* \li \c OptionChannelsApart - Channels are handled for maximum
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* individual fidelity, with less tight synchronisation. In the
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* R3 engine, this means stereo synchronisation is maintained
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* more closely for lower-frequency content than higher. In R2,
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* it means the stereo channels are processed individually and
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* only synchronised at transients. In both engines this gives
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* the highest quality for the individual channels but a more
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* diffuse stereo image and an unnatural increase in "width".
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* This option is the default.
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*
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* \li \c OptionChannelsTogether - The first two channels (where
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* two or more are present) are considered to be a stereo pair
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* and are processed in mid-side format; mid and side are
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* processed individually, with timing synchronised and phases
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* synchronised at transients (depending on the OptionTransients
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* setting). This usually leads to better focus in the centre
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* but a loss of stereo space and width. Any channels beyond
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* the first two are processed individually.
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* \li \c OptionChannelsTogether - Channels are handled for
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* tighter synchronisation at the expense of individual
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* fidelity. In the R3 engine, this means stereo synchronisation
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* is maintained more closely for the full frequency range. In
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* R2, it means the first two channels are considered to be a
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* stereo pair and are processed in mid-side format, with mid
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* and side processed as if they were separate channels before
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* being recombined. This usually leads to better focus in the
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* centre but relatively less stereo space and width and lower
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* fidelity for individual channel content.
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*
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* Finally, flags prefixed \c OptionStretch are obsolete flags
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* provided for backward compatibility only. They are ignored by
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@@ -156,6 +156,7 @@ public:
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double meanMagnitude,
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int unityCount,
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bool realtime,
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bool tighterChannelLock,
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Guidance &guidance) const {
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bool hadPhaseReset = guidance.phaseReset.present;
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@@ -191,7 +192,12 @@ public:
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guidance.channelLock.present = true;
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guidance.channelLock.f0 = 0.0;
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guidance.channelLock.f1 = 600.0;
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if (tighterChannelLock) {
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guidance.channelLock.f1 = nyquist;
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} else {
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guidance.channelLock.f1 = 600.0;
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}
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bool kick =
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(segmentation.percussiveBelow > 40.0) &&
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@@ -969,6 +969,9 @@ R3Stretcher::analyseChannel(int c, int inhop, int prevInhop, int prevOuthop)
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m_unityCount = 0;
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}
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bool tighterChannelLock =
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m_parameters.options & RubberBandStretcher::OptionChannelsTogether;
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m_guide.updateGuidance(ratio,
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prevOuthop,
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classifyScale->mag.data(),
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@@ -980,6 +983,7 @@ R3Stretcher::analyseChannel(int c, int inhop, int prevInhop, int prevOuthop)
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v_mean(classifyScale->mag.data() + 1, classify/2),
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m_unityCount,
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isRealTime(),
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tighterChannelLock,
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cd->guidance);
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/*
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if (c == 0) {
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