Commit message (Collapse) | Author | Age | Files | Lines | |
---|---|---|---|---|---|
* | Make the polymorphic allocators allocate cleared memory | Chris Robinson | 2018-11-02 | 1 | -1/+1 |
| | |||||
* | Fix some uses of RESTRICT | Chris Robinson | 2018-10-29 | 1 | -1/+1 |
| | |||||
* | Replace restrict with RESTRICT | Chris Robinson | 2018-10-29 | 12 | -49/+49 |
| | |||||
* | Don't scale the reverb fade counter so much | Chris Robinson | 2018-09-30 | 1 | -5/+6 |
| | |||||
* | Only compare the reverb params that induce a need for fading | Chris Robinson | 2018-09-23 | 1 | -23/+41 |
| | | | | | | | The offsets and coefficients are controlled by a relatively small set of input parameters, just with different base constants or different calculations. This lead to numerous redundant checks since if one value didn't change, others that use the same inputs wouldn't have either. | ||||
* | Clear reverb gain coefficients when doing a device update | Chris Robinson | 2018-09-23 | 1 | -0/+49 |
| | |||||
* | Rename ALreverbState to ReverbState | Chris Robinson | 2018-09-23 | 1 | -23/+23 |
| | |||||
* | Remove another duplicate function | Chris Robinson | 2018-09-19 | 11 | -28/+26 |
| | |||||
* | Add macros for commonly used square roots | Chris Robinson | 2018-09-19 | 1 | -7/+6 |
| | |||||
* | The last reverb loop update doesn't need an aligned count. | Chris Robinson | 2018-09-11 | 1 | -4/+7 |
| | |||||
* | Ensure the max reverb update size is a multiple of 4 | Chris Robinson | 2018-09-11 | 1 | -2/+4 |
| | | | | | | It's not an issue for the final mix, but if one loop has an unaligned count, the next loop will have unaligned input and output buffer targets which can crash the SSE mixers. | ||||
* | Separate the delay line feeding from reading | Chris Robinson | 2018-09-10 | 1 | -2/+4 |
| | | | | | Since it feeds a different line than it reads, the feeding could overwrite what's subsequently read. | ||||
* | Avoid a couple line count assumptions | Chris Robinson | 2018-09-10 | 1 | -2/+2 |
| | |||||
* | Combine identical loops into a separate function | Chris Robinson | 2018-09-10 | 1 | -46/+21 |
| | |||||
* | Handle the early reflection delay separate from late refeed | Chris Robinson | 2018-09-10 | 1 | -57/+40 |
| | |||||
* | Include the mid-band decay with the density gain | Chris Robinson | 2018-08-31 | 1 | -7/+7 |
| | |||||
* | Calcualte and use the maximum reverb update size | Chris Robinson | 2018-08-31 | 1 | -6/+14 |
| | | | | | Instead of requiring it to be at least as big as MAX_UPDATE_SAMPLES, which may not be true in some situations. | ||||
* | Apply the decay gain when reading from the late line | Chris Robinson | 2018-08-31 | 1 | -10/+17 |
| | |||||
* | Don't modify the late reverb density with the echo parameters | Chris Robinson | 2018-08-30 | 1 | -13/+7 |
| | |||||
* | Avoid making extraneous calls | Chris Robinson | 2018-08-26 | 1 | -3/+3 |
| | |||||
* | Pack two arrays into one | Chris Robinson | 2018-08-26 | 1 | -6/+10 |
| | |||||
* | Further limit the upper frequency range for autowah | Chris Robinson | 2018-08-26 | 1 | -1/+1 |
| | |||||
* | Use second-order biquad filters for the reverb's T60 decay | Chris Robinson | 2018-08-12 | 1 | -309/+18 |
| | |||||
* | Store the reverb state offset locally while processing | Chris Robinson | 2018-08-11 | 1 | -16/+14 |
| | |||||
* | Correctly apply reverb coefficient fading over the entire fade length | Chris Robinson | 2018-08-09 | 1 | -23/+25 |
| | |||||
* | Crossfade the early reflections delay coefficients | Chris Robinson | 2018-08-08 | 1 | -30/+50 |
| | |||||
* | Apply late reverb density gain on late reverb input | Chris Robinson | 2018-08-08 | 1 | -15/+30 |
| | | | | | | | | | | | This also uses gain stepping for changes in density or decay, so that the late reverb tap fades smoothly between delay offsets and density gain levels simultaneously. Now with these changes, it's preferrable to apply density gain adjustments on late reverb input instead of output so that samples currently in the feedback loop won't see a sudden increase or decrease in amplitude. A similar change can probably be made for the early reflection delays to further smooth out delay changes. | ||||
* | Specify both scale values to FadedDelayLineOut | Chris Robinson | 2018-08-08 | 1 | -9/+17 |
| | |||||
* | Use the correct input channel for the compressor effect | Chris Robinson | 2018-08-08 | 1 | -1/+1 |
| | |||||
* | Properly set early reflection all-pass coefficient | Chris Robinson | 2018-08-06 | 1 | -3/+7 |
| | |||||
* | Make the all-pass coefficient part of the all-pass structure | Chris Robinson | 2018-08-06 | 1 | -22/+17 |
| | |||||
* | Prevent the autowah filter frequency from reaching nyquist | Chris Robinson | 2018-08-06 | 1 | -1/+1 |
| | |||||
* | Apply the vector all-pass separate on uninterleaved samples | Chris Robinson | 2018-08-05 | 1 | -159/+310 |
| | | | | | | | | | | With the vector all-pass applied in a self-contained function, the individual steps of the early and late reverb stages can be better optimized with tighter loops. That allows for more data to be held local, resulting in less thrashing from reloading the same values multiple times. There is room for further improvement, depending on the length of the early delay lines and all-pass delay lines allowing for bulk reads. | ||||
* | Apply the reverb's T60 filter in groups of samples | Chris Robinson | 2018-08-05 | 1 | -54/+78 |
| | | | | | | | The late reverb line lengths are long enough to ensure a single process loop won't rely on reading samples it wrote in the same call. So we can safely read in all samples we need from the feedback buffer up front, then more efficiently filter them. | ||||
* | Mix reverb samples right after generating them | Chris Robinson | 2018-08-04 | 1 | -31/+36 |
| | | | | | | | Instead of generating both the early and late reverb samples first, then mixing them both to output, this now generates and mixes the early reflections then generates and mixes the late reverb. There's no reason to hold both at the same time so this reduces the amount of temporary storage needed. | ||||
* | Scale the reverb decay weights to cover up to 20khz | Chris Robinson | 2018-08-03 | 1 | -11/+16 |
| | | | | | | | Otherwise, using the device's maximum frequency will cause the weighting factors to shift for different sample rates, irrespective of the content being processed. 20khz is the maximum allowed reference frequency, and also acts as the upper limit of human hearing. | ||||
* | Apply late reverb density gain adjustment on output | Chris Robinson | 2018-08-01 | 1 | -22/+17 |
| | | | | | | | | Because density/late line length changes start affecting late reverb output right away, with samples that are still going through feedback decay and not just new input samples, it makes more sense to correct for it on output instead of input. This has the additional benefit of working with the output mixer's gain fading, avoiding discontinuities from significant density gain changes. | ||||
* | Fix late reverb density gain blend weights | Chris Robinson | 2018-08-01 | 1 | -4/+4 |
| | | | | | | | | | | | | Now it only accounts for the representable frequency range (0.5 normalized, or 0...pi radians instead of tau). Previously, the bulk of the weighting factors was given to the HF decay (nearly 90%, given a 44.1khz sample rate and the default 5khz reference), with low- and mid-frequency decays splitting the remaining 10%. Now it's closer to 75%, matching the range of representable frequencies above the reference. This could probably be improved further due to human hearing being less sensitive to higher frequencies, but that is much more complicated. | ||||
* | Use just the omnidirectional response for the compressor effect | Chris Robinson | 2018-07-29 | 1 | -64/+58 |
| | | | | | | | | This is not the output compressor/limiter, but the EFX effect. Consequently, it simply compresses the dynamic range around 1.0 (boosting samples below it by up to double, reducing samples above it by as much as half). This is not intended to prevent clipping on the output, but to instead reduce the range between quiet sounds and loud sounds. | ||||
* | Inline the autowah peaking filter processing | Chris Robinson | 2018-07-28 | 1 | -39/+74 |
| | |||||
* | Mark a couple parameters as unused | Chris Robinson | 2018-07-25 | 1 | -1/+1 |
| | |||||
* | EFX: Enable 3D processing | Raulshc | 2018-07-25 | 1 | -20/+17 |
| | | | Use channel 0 envelope for calculate the frequency in all channels. | ||||
* | EFX: Add 3D processing for autowah | Raulshc | 2018-07-25 | 1 | -36/+55 |
| | | | Add 3D processing code. It can be activated at compilation time. | ||||
* | EFX: Autowah implementation | Raulshc | 2018-07-25 | 1 | -0/+266 |
| | | | Add autowah effect using biquad peaking filter and envelope follower | ||||
* | Limit the normalized filter frequency to under half | Chris Robinson | 2018-07-21 | 1 | -1/+1 |
| | | | | | Nearing half, weird things can start happening with the filters' generated sine and cosine values. | ||||
* | Improve handling of 0hz ring modulator frequency | Chris Robinson | 2018-07-21 | 1 | -5/+13 |
| | |||||
* | Clamp the maximum normalized reference frequency too | Chris Robinson | 2018-06-03 | 1 | -1/+1 |
| | |||||
* | Use a higher normalized frequency limit for the ring modulator | Chris Robinson | 2018-06-02 | 1 | -1/+1 |
| | |||||
* | Use the biquad high-pass in the ring modulator | Chris Robinson | 2018-05-31 | 1 | -10/+6 |
| | |||||
* | Slightly simplify the modulator square wave generator | Chris Robinson | 2018-05-31 | 1 | -3/+3 |
| |