Cytomic "The Drop" Resonant Filter

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Andie that new interface if truly amazing, nice work.
So many developers ignore the importance of a good interface.

Are there any plans for the same cosmetic enhancements on The Glue?

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Everglide wrote:Andie that new interface if truly amazing, nice work.
So many developers ignore the importance of a good interface.

Are there any plans for the same cosmetic enhancements on The Glue?
Yep, The Glue is going to get a complete makeover as well. I'll keep the same style knobs and buttons, but make the entire interface a bit wider and larger as well as making all the materials look better now I am better at doing that sort of thing. The whole thing will be smoothly scalable as well and support retina displays (as does the new interface for The Drop)
The Glue, The Drop - www.cytomic.com

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andy-cytomic wrote:
Everglide wrote:Andie that new interface if truly amazing, nice work.
So many developers ignore the importance of a good interface.

Are there any plans for the same cosmetic enhancements on The Glue?
Yep, The Glue is going to get a complete makeover as well. I'll keep the same style knobs and buttons, but make the entire interface a bit wider and larger as well as making all the materials look better now I am better at doing that sort of thing. The whole thing will be smoothly scalable as well and support retina displays (as does the new interface for The Drop)
So, cosmetics only, or some new alogrithm enhancements too ?

I remember reading about modeling the circuit saturation/harmonics too...

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It really pains me to see otherwise well desigend UIs let down by unsharp fonts. So if i may suggest something that works quite well for myself; dont use whatever you were using for the labels, (Photoshop?), go the extra mile and make your labels with Windows Paint. Its no doubt a lot of extra work, not to mention tedious since Paint doesnt do layers or transparency. But since Paint is using Windowses font anti-aliasing, which is by far the best of all graphics apps i know, the result will be more than worth it because your texts will be actually sharp that way and thus infinitely better legible.

To demonstrate how huge a difference this really makes, heres a quick comparison shot.

<click for full size>
Image

As you can see, with Paints font anti-aliasing the Bs and Ns and Ms (everything actually) are a hundret times sharper and excellently legible even from a distance. You can further finetune this by not using 255,255,255 white, (which is what i used in this case), or better still, by typing the labels on a piece of equal-color background, (i.e. close to the color the text is to be put over), then importing the bitmap into Photoshop, removing the background pixels via Select Color Range and then putting some transparency on the layer so it blends a little with the real background. As i said, its a laborious and time consuming process, but i can practically guarantee that once you have gotten used to this process you would never want to go back to that blurry Photoshop text with its appalling font anti-aliasing because the results are just so much better.

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@ENV1: Photoshop CS6 has a special mode for resizing: Bicubic Sharper (best for reduction).

I would also recommend a great free program for resizing images and other useful operations - FastStone Photo Resizer 3.2 (Windows only), I have found it works better than PS.
It's easy if you know how

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Huge fan/addict of the plug-in and I've been raving about it for over a year now to everyone out here in the LA Ableton scene. Also I've noticed it popping up a lot in the arsenal of pros profiled on Future Music "In The Studio" and the like. Not bad for still being in beta :)

New feature set looks AMAZING! Especially the modulation section. The decision to switch by destination rather than source was a damn fine one, and the ability ( i assume ) to independently mute sources by destination is awesome. I love the character of the existing envelopes and LFO so much I often use it with the filters turned off for "simple" volume gating/pumping effects. Excited to be able to use them in so many more flexible ways.

So one modulation thing I have noticed in the new GUI but haven't seen anything written about is the Step Sequencer. The ability to route it to LFO amount especially has me itching to get my hands on the new version. Are there any pics of the GUI for the step sequencer?

Really looking forward to all the additional plugs the work on The Drop has provided a framework for. When you say stomp boxes I assume you are talking at least one fuzz/overdrive/germanium type monster. That makes me very very happy.

Aaron Zilch
Ableton Certified Trainer
https://www.ableton.com/en/education/ce ... ron-zilch/

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kj.metissage wrote: So, cosmetics only, or some new alogrithm enhancements too ?

I remember reading about modeling the circuit saturation/harmonics too...
There will be some additions to the modelling as well, but I won't make any announcements until they are done since I don't know what they are going to be until I've spent some time doing them and made a final decision. One addition I can say for sure is that I'll add a smoothly variable stereo linked <-> dual mono knob.
The Glue, The Drop - www.cytomic.com

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you are serious aren't you… oh my

face friggon palm


you do realise Photoshop has many text display settings yeah?
ENV1 wrote:It really pains me to see otherwise well desigend UIs let down by unsharp fonts. So if i may suggest something that works quite well for myself; dont use whatever you were using for the labels, (Photoshop?), go the extra mile and make your labels with Windows Paint. Its no doubt a lot of extra work, not to mention tedious since Paint doesnt do layers or transparency. But since Paint is using Windowses font anti-aliasing, which is by far the best of all graphics apps i know, the result will be more than worth it because your texts will be actually sharp that way and thus infinitely better legible.

To demonstrate how huge a difference this really makes, heres a quick comparison shot.

<click for full size>
Image

As you can see, with Paints font anti-aliasing the Bs and Ns and Ms (everything actually) are a hundret times sharper and excellently legible even from a distance. You can further finetune this by not using 255,255,255 white, (which is what i used in this case), or better still, by typing the labels on a piece of equal-color background, (i.e. close to the color the text is to be put over), then importing the bitmap into Photoshop, removing the background pixels via Select Color Range and then putting some transparency on the layer so it blends a little with the real background. As i said, its a laborious and time consuming process, but i can practically guarantee that once you have gotten used to this process you would never want to go back to that blurry Photoshop text with its appalling font anti-aliasing because the results are just so much better.

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sqigls wrote:you are serious aren't you.
Yes, im pretty sure that i am.

(Im not sure about you though.)
sqigls wrote:you do realise Photoshop has many text display settings yeah?
Intriguing story. Thanks for sharing.

Of course if you had ever actually tried to use any of these cool 'settings' for small anti-aliased fonts you would know that all of them are complete crap, but dont let that stop you from posting some more smartass-in-training comments.

Facepalm indeed. :roll:

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ENV1 wrote:It really pains me to see otherwise well desigend UIs let down by unsharp fonts. So if i may suggest something that works quite well for myself; dont use whatever you were using for the labels, (Photoshop?), go the extra mile and make your labels with Windows Paint. Its no doubt a lot of extra work, not to mention tedious since Paint doesnt do layers or transparency. But since Paint is using Windowses font anti-aliasing, which is by far the best of all graphics apps i know, the result will be more than worth it because your texts will be actually sharp that way and thus infinitely better legible.

To demonstrate how huge a difference this really makes, heres a quick comparison shot.

<click for full size>
Image

As you can see, with Paints font anti-aliasing the Bs and Ns and Ms (everything actually) are a hundret times sharper and excellently legible even from a distance. You can further finetune this by not using 255,255,255 white, (which is what i used in this case), or better still, by typing the labels on a piece of equal-color background, (i.e. close to the color the text is to be put over), then importing the bitmap into Photoshop, removing the background pixels via Select Color Range and then putting some transparency on the layer so it blends a little with the real background. As i said, its a laborious and time consuming process, but i can practically guarantee that once you have gotten used to this process you would never want to go back to that blurry Photoshop text with its appalling font anti-aliasing because the results are just so much better.
The bottom one looks atrocious.

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wald wrote:The bottom one looks atrocious.
Self-evident.

After all it is sharp and well legible and we all know how much better blurred text looks.

I should probably remove this revolting suggestion. The world just doesnt seem to be ready yet for such radical thoughts.

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ENV, the font is different in your example, and more important, the size too. I think witht the same font/size the difference in sharpness would be less obvious.
I understand your thoughts about the PS antialiasing methods, but I`m sorry, I`m with wald; the "original" top fonts looks way more professinal and integrated with the graphics, the bottom one remember me of some 90´s freeware plugins.

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Good to see there are still some people who can address a subject in a civilized manner.

Thus i am glad to respond with equal civility.

klinik wrote:ENV, the font is different in your example, and more important, the size too. I think witht the same font/size the difference in sharpness would be less obvious.
Yes, its probably different. After all i didnt know what exactly Andy was using, so i picked Arial because the main purpose of the demonstration was just to show how different the sharpness level is. I did, however, pick a bigger size deliberately, because with the next-smaller size the center line of the Es (for instance) wouldnt be in the center. With a font like Arial this just doesnt look very pretty, (IMO of course), plus at that fontsize it also begins to affect the quality of the anti-aliasing when the lines are that close together.
klinik wrote:I understand your thoughts about the PS antialiasing methods, but I`m sorry, I`m with wald; the "original" top fonts looks way more professinal and integrated with the graphics, the bottom one remember me of some 90´s freeware plugins.
Like i said, the point of the screenshot was not to say 'Look, thats how its supposed to look!', but merely to demonstrate the immense difference in sharpness. I just assumed that everyone will realize that because the fact that the white is way too stark considering the graphical context seems...well...obvious to me. And thats exactly why i added the part about the 'finetuning'. Like i said, if you get the text from Paint onto a PS layer that you can apply transparency to you can blend it nicely with the actual background. (Providing of course that youve printed the text on a suitable BG color in Paint, otherwise this wont work.) Thus if you tweak it right it will look as professional as you could ever hope to make it because the vast increase in sharpness will be an improvement over Photoshops crummy font anti-aliasing in any case. I just didnt have the time to 'go the whole nine yards' here, thats all. (Plus i didnt think it was necessary.) If i wasnt clear enough on that part, my apologies.

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PS: I hope Andy will forgive me, but for the sake of the point, heres how it looks when the Paint-text is slightly blended with the background.

Its as sharp and legible as it can be considering the alternatives, still it fits in nicely because its not 100% opaque.

The obvious advantage is that the labels are well legible even if youre some distance away from the screen.

The remaining 'fuzz' on some letters (which is minimal compared to what youd get with PS) is due to the fact that Microsofts font anti-aliasing is of course not 100% perfect either.

<click>
Image

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andy-cytomic wrote:
kj.metissage wrote: So, cosmetics only, or some new alogrithm enhancements too ?

I remember reading about modeling the circuit saturation/harmonics too...
There will be some additions to the modelling as well, but I won't make any announcements until they are done since I don't know what they are going to be until I've spent some time doing them and made a final decision. One addition I can say for sure is that I'll add a smoothly variable stereo linked <-> dual mono knob.
Yummy !!!

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