Are there any altchans that are not about being a weeb, not about acting obnoxious, not trying to be another 2ch or 4chan and not about politics mainly. Is this possible, please?! Why there's just NO fun place around?!
You have ten seconds to be as edgy as possible.
I propose that we create our own language!
From now on, I'm going to post all updates relating to my Singing Voice Synthesizer project in this thread.
Previous threads:
>>8663
>>9252
>>9483
>>9730
>>9875
A thread where you post old 3d renders... Again
First thread:
>>1911
You got involved or tried something like ceremonial magic?
I into self hypnosis, meditation, short rituals like lrp and i like to read books about these topics of fringe things.
>Why?
I dont know, i just like the fantasy and these techniques for imagination and do fun things like sigils or talismans, its just belief maybe but deppend your belief and paradigm on these things if are just woo-woo, hypnosis or there's a real power or magical things. Maybe just psychonautics who knows.
>You can use the thread to talk to other fringe things
this imgboard is kinda deeeeaaaaddd...
Los quiero invitar a mi pequeño imageboard, se llama Refugio76!!
Espero les guste y se puedan dar una vuelta por el sitio :)
Url: https://r76.org/
This is my wife. Say something nice about her.
Thought this place needs a little bit of organization so it's more comfy here for all the newcomers and so locals don't forget about existing threads aswell
>>4546 // Something of a general thread with no topic
>>8315 // Art Thread
>>2569 // Oekaki
>>3257 // Vidya
>>8452 // Films Thread
>>3475 // Book Thread
>>13 // Music Thread
>>6517 // Social life discussion
>>757 // Sharing positive mental health/personal growth
>>8438 // Figures, Plushies, ET.C.
>>9431 // Altchans discussion
>>9 // Considering it's content, can serve as /ck/
>>263 // Comfy media thread
>>3030 // Something of a burnout thread
>>8863 // Currently pretty empty, but can serve a good Occult and Esoteric thread
>>8028 // NSFW/Kink/Sexuality discussions
Miscelaneous
>>7647 // 'ITT: We be rude and mean'
>>2589 // Bugs Thread
>>10 // Marzichan Monday
>>501 // The Church of Johiton
>>9097, >>9193, >>9807 // Casual /meta/
>>8891 // Empty ATM, can serve whatever greentext based
Highlights:
>>9580 // Comic in the name of Johiton
>>9708 // DogSpot's comic about Alien Abduction
>>8611 // Deep, long-form discussion on identity, place and loneliness
How is it running for so long already? with these rates?
Only post images made with the built-in oekaki app
all hands on deck for MARZICHAN MONDAY
About three weeks ago, I promised that the following day, I would make a post the following day about a big update. I didn't say what it was about at the time, but it was going to be about the Excitation plus Resonance model. Unfortunately, I was not able to make the post at the time, and am sorry for that. However, I do have a significant update now.
Back in April, I began to implement the Excitation plus Resonance model. The Excitation plus Resonance is model of the voice timbre spectrum. It consists of several parts actually, but the two main ones in terms of implementation difficult are the source curve and vocal tract resonances.
The source curves approximates the frequency-domain response of the voice source, and the resonances correspond roughly to formants and are model using a modified version of the Klatt Formant. The problem lies not in implementing this model - it is actually very easy to do so - but rather estimating the parameters for this model, which is not given in any of the papers I've read. Back in April, I spent a couple days trying to create it. Ultimately, I came up with something that was quite poor quality, very slow, and required very specific parameters but accepted it. Much later though, I found that the exact method to estimate the source curve is actually given in the expired EpR patent.
Not wanting to repeat my previous mistake, when I began to work on EpR, I searched extensively for the method used to estimate the resonances, but came up with nothing. Eventually, I began to trying figure it out myself. I started by recreating the data in the paper by annotating an image extracted from the paper in Photoshop and then running a python script on said annotated images. I would then compared the result of my approach on said recreated data to the paper's.
I actually had been thinking about it long before my first attempt. I already had a method that I had conceived of. The main idea of this method was that the reciprocal of the second derivative could be used to approximate the bandwidths of the resonances.
Initially, after having to make a few adaptions to the approach after realizing several things wouldn't work quite how I thought, the results vastly outperformed my initial expectations. There were several ideas that didn't work out, but overall I felt good at the end of the first day. I debated whether to continue trying or to just go with what I had. I decided that would go with what I had and make a post about it the following day, this about three weeks however.
The next day however I decided to continue work instead. Initially, I was quite surprised that the second derivative reciprocal method even worked at all, so I overlooked many inadequacies. They were a lot larger than I had thought for some reason the previous. Specifically, in many of the most critical areas. It is worth noting that it is in a logarithmic scale (decibels), so apparently small errors in some areas can actually be very large. Furthermore, I discovered there was actually a mistake in the modified Klatt implementation, and that with the correct formulation, it performed much worse. Furthermore, the next day, I decided to recreate another sample from the paper, and it performed terribly. So I continued. I decided this time, I would not be satisfied until I had actually recreated it properly, no matter how long it took.
Three weeks later and 1,905 attempts later... Initially, I made quite some progress, however for over a week, I made basically no progress at all despite many hundreds of attempts. Finally, though, mainly in the past two to three days, I have made some major discoveries. Yesterday, I did a test that showed that combining an old idea I had ruled out with a new one showed significant progress. Just today, I have implemented that idea properly and made another significant improvement.
While this new implementation is still flawed, and actually has major issues for the higher frequencies, I think it shows considerable potential. Besides, it is more simplified than the previous implementation and I have some clear ways forward. This new version solves many issues I had before and doesn't require many of contrived things I had to do before.
One thing specifically it shows promise is in this section of the second recreated test sample.
Here is that section from the paper: https://files.catbox.moe/ontyhu.png
Here is the result from the old approach: https://files.catbox.moe/9uplbn.png
And now here is the result from the new approach: https://files.catbox.moe/gzu3q8.png
This whole place is a complete sham. This site doesn't have that many active posters as it may appear on the first glance! We have a homestuck fan, probably a few ones but I believe that's just one person, then we have some philosophical cavemans, we also have dogspot who seems to live only inside their own thread and it doesn't matter much, they're barely active anyways... And at the end of the day we sometimes have csam poster having imaginational beef with someone and once in a while some passersby rant about random shit. Fake! Totally fake!
github.com/StaticBoard/StaticBoard
there's also a live instance that will get my repo terminated eventually
Uses github issues as a workaround, the most basic functional is implemented, can be slow but what could be optimized is optimized (these are github issues what did you expect) doesn't have proper image support, I couldn't think of a good way to implement it
there's much to be done, and I am so tired
what are you reading friends?
Mine was a bit dull and boring for most people. I read Victor Turner's essay Liminality and Communitas. Turner was an expert on African rites of passage and he develops his famous theory here. Studying chieftianship initiation rituals among the Ndembu, he tells us these rituals go through a 3 stage process. 1. removal from the community, you get stripped of your normal social responsibilities 2. being put in an inbetween "liminal" space where you experience intense emotions and a feeling of togetherness, which he calls communitas 3. being brought back into the community but with a new bunch of social roles and duties. He thinks these kinds of experiences are essential for a healthy society but now that I think of them, we don't have many at all. Then I read a couple poems and old 2ch posts. I've been trying to get into Chinese poetry in translation but it doesn't always read well.
Tomorrow I will go to the bookstore and buy a new book. I don't know what it will be yet.
ITT: wer R sharing a piece of art.
here R my mspaint doodls.
Ive traveled the internet far and wide on the Agora Road. Came to says this is a nice site.
please post comfy images and gifs i desire them
Which I made pretty recently with all the love I have
Send cute pics of bugs and critters here !!!
Капитализм - это собачье дерьмо издание
Hello, I have an update to my vocal synthesis project. I have chosen from now on to post links to my wordpress blog instead of trying to post all of it natively. This is to improve the quality of formatting (particularly section headings and math), not have to split it across many posts, and allow for multiple inline images without having to upload to sites like catbox.moe or imgbb. I hope your understand.
https://queuesevenm.wordpress.com/2026/05/14/wide-band-subharmonic-modeling/
Has anyone really been far even as decided to use even go want to do look more like?
How about we discuss the Shrek franchise.
What do you think about upcoming Shrek 5 movie?
This is a serious thread, so don't post "that" copypasta.
How can you say you love her if you can't even eat her poop?
Hello, this thread is dedicated to Johiton's Church. Let's wait together for Johiton to be born again
github.com/victorvde/jpeg2png
There's this rather obscure tool on github from a decade ago called "jpeg2png" that's designed to remove jpeg artifacts. I've been using it for a decade now and nothing else even comes close to it in terms of quality. Even those expensive neural network based ones are considerably less effective than this tool.
The only real flaw of it is that some images that actually do contain significant noise and are saved at low quality get smoothed out slightly. Understand though that importantly, that this is not smoothing in the sense of blurring, but reduction of the JPEG coefficients. In general, this tool does not result in any blurring. I believe the tool works by tweaking the DCT coefficients to result in the minimum noise and maximum coherence, which usually results in a result very close to the original.
The reason the smoothing happens for high noise images is presumably because it is because the solution it finds is just to tweak every DCT coefficient so it is slightly smaller to minimize the cost. I wonder if this issue could be simply fixed by detecting when most DCT coefficients decrease, and not changing them in that case. In cases where they are legitimately being decreased, the reduction in cost would be significantly higher and the changes in DCT coefficient should be pretty much evenly spread, as the errors were introduced by quantization/rounding, which is not biased.
I've re-enabled CRBAchan and restored all the posts lost in the raid. Further more, I've ensured this can never happen again.
CRBAchan: https://ib.crba.tw
CRBA Archive: https://crba.tw
I'm also looking to expand the CRBA site. One thing I want to do is create an immersive community experience that feels like the pure CRBA innocence. To do this, I'd a very intricate web design. *I am soliciting ideas for this.* Maybe we could have "CRBA mail" system where you can write letters within CRBA. It would very themed.
I've also been working on some concrete improvements and additions to the site. I've not released it yet, but plan to very soon. I plan to add the ability to view the CRBA art chronologically and in other ways. Additionally, I plan to improve the organization from the site and incorporate a text archive of things Sean has written. I've posted an example of this improved design as the image for this post. I also plan to add an archive of AVCHonline's videos and music.
Let me know if you have any ideas for creating the beautiful immersive innocence experiences!
trying to collect things from across the web for a personal project
anyone have disturbing or unsettling images they can share
what the heck with my wallpapers
𝒟𝑒𝒶𝓇 ̶m̶a̶r̶-
𝐷𝑒𝒶𝓇 𝒮𝓁𝒾𝓂,
For the past four nights I wrote you,
but I ain't been sendin.
For the past four nights,
my nights' been 𝐆𝐑𝐈𝐌.
Every mare of the night—
you are there.
Worse yet that—
every sweet dream of mine—
you also are there.
every time I'm tired I—
cuddle my pillow thinking of you.
Worse yet that—
then asleep I fall—
playing with my hair I, start dreaming of you.
Then awake I— uhhh—
I uhhh... I keep umm... keep thinking of you.
Every morning I write,
then I don't send it.
But since this one's a fake stan letter,
you won't understand it.
𝒫.𝒮: Do not take this thread too serious.
𝒫.𝒫.𝒮: But it is your fault in the case you believe it's real.
𝒫.𝒫.𝒫.𝒮:
I hate you.
I love you.
You're annoying.
You keep getting in my way.
You're dumb.
I miss you.
Loser.
Piece of shit.
𝐗𝐎𝐗𝐎
You will die in seven days.
been a while since the old plushie thread died, figured I'd make a new one that includes figures and other similar things too!
just recently was so so lucky to receive this beautiful patchouli nendoroid as a gift :D <3
she is so well-made and cute!! she keeps me company at my desk, sitting on my amp & dac.
I love it. not really a big figure/statue person, but I like to have little decorations at my desk and she is just so adorable; the nicest of my itty bitty "collection" for sure
i need an opinion. from you, amazing people from my computer, is my expressive snail cool ? ?
-his name is Cheesecake
is he cool ?
Get in, losers. We're gonna go have sex, do drugs, and kill people.
the world and existence is so depressing and scary so I thought it might be nice to have a thread where we can share little everyday positive occurrences and actions we've taken that contribute to growth/betterment/positive mental health.
even if they are really just tiny accomplishments, everything counts.
In the last post about my vocal synthesis project, I talked about implementing the Wide-Band Voice Pulse Modeling algorithm. Since then, I've actually done some original research of my own and have devised what I believe to be three minor improvements to the algorithm.
I implemented the Wide-Band Voice Pulse Modeling algorithm (from Dr. Jordi Bonada's PhD thesis: https://www.tdx.cat/bitstream/handle/10803/7555/tjbs.pdf) via the upsampling method (specifically, upsampling via a natural cubic spline). There are actually two methods proposed in that paper, the other being via periodization. There is actually a patent that pertains to WBVPM, but it only covers the periodization version (which is what they used for their results), so I have implemented the upsampling method instead. I have been able to validate the main results in that paper; specifically, its shape-invariance and lower residual when compared to other methods. Furthermore, I have devised three significant improvements to the algorithm - two of which are only possible because I used the spline approach, so in a sense it was good that I had to do it that way.
Of the three improvements, I have implemented the first two and shown their advantage of the original WBVPM algorithm. The resulting score has been obtained by taking the mean of the relative of residual level (i.e. the difference between the original and reconstructed signal; relative to the level original signal). I have done so on an audio sample that deliberately exhibits traits that were noted as negatively affecting the WBVPM algorithm's resulting quality. Notably, a low pitch voice with rapid and deep vibrato, transients, strong amplitude modulation, and a large portion of the sampling being between a voiced/unvoiced/voiced transition.
First I should note that my WBVPM implementation is currently far from optimal. The pitch estimation system (via the modified TWM algorithm) has not undergone testing and tuning of its parameters, and there are many variations of the TWM algorithm to consider. Additionally, I have not implemented unvoiced/voiced detection (because, as far as I can tell, it is not mentioned in Bonada's thesis; presumably it's in prior literature, but I have not researched it yet), so all the algorithms act as if they are always processing a voiced signal even when they are not.
RESILIENT BORDER INTERPOLATION IN SYNTHESIS - When I first implemented the synthesis step for WBVPM, it was late at night and I was tired. I wanted a quick result before I went to bed and didn't understand the wording of the description of the synthesis step in WBVPM. As such, my original implementation differed significantly. Instead of using the overlap-and-add, it instead, for each sample, found the closest voice pulse and determined its value for that time, taking advantage of the spline that was generated for downsampling and using the periodic nature of the pulse to extend it when the sample was beyond its domain (i.e. the opposite of overlapping). This approach lead to high-frequency crackling artifacts due to discontinuities between the voice pulse boundaries.
The following day, I properly understood the synthesis approach and rewrote the synthesis code. Interestingly, this actually gave worse overall results. While the high frequency artifacts were gone, there were now large low frequency artifacts that appeared as large modulations in the time-domain. I eventually tracked this down to being a bug in my implementation of the MFPA algorithm that sometimes resulted in massive errors of up to 1.5 radians. I fixed this bug and the reconstruction synthesis no longer had significant artifacts, but I thought it was interesting that my approach, despite having the discontinuity issue, was more resilient to errors in the MFPA estimation. I began thinking if the two approaches could be combined to create an even better approach.
I was thinking about why the modulation occurred in the case of the overlap-and-add method. Thinking about it, when the fundamental frequency is stationary and the MFPA onsets are perfect, the trapezoidal window function is equivalent to a weighted average between two adjacent voice pulses over the duration of twice the border interpolation size. However, when the MFPA onsets are inaccurate, or even just when the fundamental frequency is non-stationary, this is no longer true. Even worse, thinking about it from the weighted average point of view, the sum isn't necessarily one everywhere anymore, hence the modulation.
I then devised a method that would not result in modulation. This method works by first synthesizing the 'inner' portion of each pulse (by 'inner', I mean starting at the end of the border interpolation at the start, and ending before the start of the next border interpolation towards the end of the pulse). Then, for the gaps in between each pulse, we calculate each sample value by a weighted average of two values. These are values are the values of each voice pulse at that time. Since the gap extends beyond the boundaries of each voice pulse, we use the periodic nature of the pulses to compute the effective position in the voice pulse by taking the position modulo the period of the fundamental frequency at that voice pulse. The fundamental frequencies of each of the voice pulses may differ, so we actually change step in time linearly. At each end of the gap, the step size for the voice pulse it is next to is one sample in time, while the step for the former voice pulse is the equivalent of one sample in the latter voice pulse relative to the former's fundamental frequency (e.g. if the second voice pulse has twice the fundamental frequency as the first; the step size for the first would be 2 and tep size for the second would be 1, at the end of the gap). For the start of the gap, it is the same except relative to the first pulse having a step of 1. In between, we the step size interpolate linearly.
It is worth noting that in the ideal case where the onsets are exactly correct and the fundamental frequency is stationary, the result of this approach is the same as using the trapezoidal window.
FREQUENCY WARP-CORRECTION - As noted in Bonada's thesis, WBVPM assumes that the fundamental frequency is stationary within each pulse, however this is not actually true, and that the artifacts from this are particularly apparent for low fundamental frequency voice signals, because each period of the signal is longer in time and thus the internal state of the system has more time to change.
One of the changes that can happen over time is modulation of the fundamental frequency. This can be thought of actually as a time-domain remapping function that distorts each voice pulse according to a continuous fundamental frequency trajectory.
I discovered a way of correcting this, largely by accident as I was thinking about solving the modulation issue I discussed in the previous section. I was thinking about how I proposed changing the step size linearly in the gaps between the 'inner' pulses. I was thinking, we have a discrete sequence of fundamental frequencies. So, what if instead of changing the step size linearly, we instead created a spline from the fundamental frequencies and instead changed the step size based on that? Then I realized that we could also use this for the whole voice pulses and just sample everything with a step size based on the fundamental frequency trajectory. I then realized that this would actually act like the distortion from changing parameters within each voice pulse, at least in the synthesis stage. Further more, since we are already computing splines for each voice pulse to downsample it, this comes at very little additional computational cost.
However, the voice pulses in analysis are already distorted. So then I already we can do the inverse resampling in the upsampling stage of WBVPM analysis to correct for non-stationary frequency, then it is redistorted according to the transformed fundamental frequency trajectory in the synthesis stage. This makes this method effectively invariant to modulations in fundamental frequency, so long as the modulation is less than the fundamental frequency and it is modeled well by the spline, which should be the case for modulation period is at least several voice pulses.
PITCHED/UNPITCHED DECOMPOSITION - As mentioned in Bonada's thesis, WBVPM only models sinusoids, and thus residual in the input signal is encoded as flucuations between the spectra of voice pulses. I devised a post-processing technique to separate the voice pulses into sinusoidal and residual components.
I have not actually implemented and test this yet, because as it is post-processing step, it will not improve the residual level, and in fact, will probably make it worse. The benefit of it is in the transformation stage, which is much harder to quantify and which I have not finished implementing. However, I believe this approach should work.
The technique works as follows:
a) First, for each voice pulse, and then for each harmonic of its spectra, we compute a spline based on the values of the amplitude of that harmonic in the voice pulse as well as a fixed number of surrounding voice pulses.
b) Since the time delta between voice pulses can vary, we then resample each local harmonic spline with fixed steps in time.
c) We compute the fourier transform of these resampled local harmonic trajectories
d) We apply a low-pass and high-pass filter to separate it into low-frequency and high-frequency components.
e) We then apply the inverse fourier transform to each of these. We can then sample the low pass trajectory at the time of the voice pulse to get the amplitude value of the denoised harmonic for that voice pulse. The same can be done for the high pass trajectory to obtain a pseudo-pulse representing the residual. These residual voice pulses can then be synthesized using the WBVPM synthesis method to obtain a time-domain residual signal which can be processed separately from the main harmonic signal.
A significant source of error in this process presumably would come from the resampling step. This can be decreased by using a smaller time step, at an increased computational cost. However, the error could probably be greatly reduced by first calculating the difference between the original amplitudes and the amplitudes at the same times in a spline computed from the resampled harmonic spline before applying the band filters, this difference can later be added back to the low-pass amplitude trajectory.
The denoised harmonic phase can also be computed via the same method, using Bonada's method for unwrapping phase across both frequency and time. The residual phase can be calculated by taking difference of the original phase from the denoised phase and dividing it by the residual amplitude.
RESULTS:
I have tested these improvements and obtained the following results for the aforementioned audio sample:
Original WBVPM: -36.355dB
Warp-correction improvement only: -36.74595dB
Warp-correction & Resilient border interpolation in synthesis: -37.41177dB
More research is needed to properly evaluate these improvements across more samples with more variety, and to see if these techniques still result in improvements with more accurate pitch and MFPA estimation and with proper handling of unvoiced/voiced frames.
A little delayed, but submit your nominees for best boy of 2025. Ahead of the upcoming English translation of the manga and the 5th anniversary, I nominate Sunny.
post characters that you think are marzichan-coded. patchouli is an obvious one
dead website
just shut it down at this point
"You wanna know how many fucking baked zitis we go through in this house?"
Are these the world's most crispy fries? Let's find out.
ITT: We be rude and mean.
Hello, I'm back and I have a major update to my VOCALOID project! I have sucessfully achieved a shape-invariant pitch transposition!
Here it is.
First the original audio: files.catbox.moe/zmt3rr.wav
Now my version with WBVPM (pitched down by an octave): voca.ro/1mJ5qljrp9hD or files.catbox.moe/kho97n.wav
And a version using a naive pitch shift: files.catbox.moe/xs39bq.wav
Notice that my version, while having more noise, sounds more natural and has less phasiness. This is particular noticeable if you play both at very low volume. One sounds much more 'human' than the other.
Also note that this an extreme example with an octave shift (or 1200 cents) - in practice, shifts would typically be far less. Also this doesn't implement several other parts of the system (more on that later).
I'll explain all of this in a moment, but first, I'd to correct some major biographical errors. Since this is a long post, I've divided it into sections
BIOGRAPHICAL CORRECTIONS
In the last post, I claimed that VOCALOID1 used Narrow-Band Voice Pulse Modeling while VOCALOID2 and onwards used Wide-Band Voice Pulse Modeling. This was incorrect, and additionally it was the source of most of my confusion surround the paper.
What actually happened is that the research technology that would later become VOCALOID1 started out as work to improve the existing Spectral Modeling Synthesis system that had been developed in the early 1990s. This improvement began work in the late 1990s. But importantly, this system evolved and techniques from it were incorporated with techniques from a system that was being developed called a Phase-Locked Vocoder, and this system would be released as VOCALOID1. In the mid-2000s, work began on combining the techniques learned from improving SMS and the PLVC-based system and attempting to combine them with the mucher older and well-known TD-PSOLA system. Importantly, TD-PSOLA (Time-Domain Pitch Synchronous OverLap and Add) was a time-domain system, while SMS was a frequency-domain system (and also TD-PSOLA was pitch synchronous - hence the name, while SMS had a constant hop size). The first technique they developed was Narrow-Band Voice Pulse Modeling, and later Wide-Band Voice Pulse Modeling. Wide-Band Voice Pulse Modeling ended it up being used in VOCALOID2.
Now that I understand this, I also understand the major mistake I made when reading the paper: I was reading it from the perspective of an implementer, thinking of the sections as the steps to implementing it instead of as research. I had thought that section 2.2 described the core processing algorithms. When it was actually about SMS, and importantly, about *the improvements they made to SMS*, and not a complete description of SMS, since SMS was already an established technique. Hence my confusion on why some things were seemingly vaguely explained, since *the paper wasn't about them*. At the same time, much of that section is very useful though because importantly, much of that research was also incorporated into the later techniques.
RESULTS
I have successfully implemented the Wide-Band Voice Pulse Modeling; synthesis; and pitch transposition, time stretching, and timbre scaling algorithms. Additionally, I have also finished implementing the full version of the pitch estimation module, changed the code to work using overlapping windows, implemented the window adaption system, and fixed countless.
Importantly, I have been able to experimentally replicate a very important property - and one of the main reasons WBVPM was developed, in fact. That property is shape-invariance. You see, an important property of the human voice is that, all else being equal, the shape of each pulse in the waveform stays roughly the same regardless of frequency. The reason for this property is phase-coherence. At the start of each voice pulse (when the glottis closes), the phases of all the harmonics within each formant (where each 'formant' is a spectral region affected by the vocal tract differently) are roughly the same. Since phase changes proportionally to frequency, the different harmonics will shift from that point over time, and soon become very different from one another. Since the phases are vastly different with relation to the frequency at times other than the voice pulse onset, the harmonics interfere constructively and destructively in the time-domain. Importantly however, if all the harmonics are scaled equally, the phases all now change at a slower or faster rate, but importantly this rate scales the same for all of them. This gives rise to shape-invariance, since the pattern of interference stays the same, just at different scales.
Importantly, if you apply a transform relative to a point that is not a voice pulse onset, the phases will not be flat. Of course, that transform can shift the changes *from* the point it started from, but importantly it is NOT accounting for inherent phase shift that occurs from not being at a voice pulse onset. Of course, if no transform is occurred, then there will be no issue. But if one is, say a pitch transposition, then the initial phases from the starts if signal was actually shifted to the pitch originally will differ considerably from the observed ones since the observed ones base themselves on the measured phase *at a different pitch*. This results in the breaking of shape-invariance, a noticeable 'phasiness' sound, and the sound sounding un-human.
Here is an image of 500 samples from the original signal: files.catbox.moe/223l7p.png
Now here is 1000 from a one octave down pitch transposition using a naive approach (a fixed-window and hop-size approach using a 1024-point Hann window): files.catbox.moe/jxgtg0.png
Notice that not only is the waveform unrecognizable compared to the original, it even varies considerably between individual voice pulses!
Now compare to 1000 samples from the WBVPM approach: files.catbox.moe/6hpf8l.png
Notice how the waveform is almost identical, only scaled up two times in period, and it varies much less.
You may be wondering, couldn't we just downsample or upsample the signal and play it back at the same sample rate to get the same result? Well, importantly, we have independent control over pitch and time. In the example, I downsampled the voice by a factor two, but kept the time the same and it contains the same number of samples as the original. Additionally, in the analysis and then synthesis reconstruction, it is seperating it into individual voice pulses. Importantly, it isn't just scaling them, it is generating new voice pulses in the frequency domain and inserting them at positions that were also generated.
Here is an amplitude envelope of the latter half of the original audio: files.catbox.moe/6zw5v5.png
Now here is an amplitude envelope of the latter half of the pitch-transposed audio: files.catbox.moe/2a3utu.png
Notice how they a roughly the same. If the audio was just downsampled, the second would be stretched out by a factor of two - but is not.
I also implemented timbre-scaling, although I have not tested it. Fun fact; when I implemented it, actually did so by accident. I was trying to implement the pitch transposition, got a bit confused, and realized I had also accidently implemented timbre scaling.
All these transforms are currently implemented as linear transformers. However, they are all implemented by just sampling a spline at a regular interval, so they could be trivially made to accept a non-linear parameter, sequence of points, or spline instead.
Although this current implementation is far from perfect, I think it works reasonably well as a demonstration of the techniques and their properties. Keep in my mind that I have done nearly no adjustment of the constant parameters/'tuning'. In fact, there are several parameters whose corresponding feature is effectively disabled because I wasn't sure what value to pick. This implementation could probably be considerably improved just by adjusting a few constant. An (hopefully) efficient and accurate way of 'tuning' automatically is discussed later in this post.
Notably, the pitch-transposed spectrum varies significantly, with some areas showing little residual and straight lines: files.catbox.moe/04naz0.png (those lines in some areas around the center of the spectrum are probably the aliasing artifacts Bonada 2008 mentioned in WBVPM when using upscaling, I will implement the method for avoiding them at some point)
Additionally, I have also tested reconstructing the sound with no transforms. This seems yield little residual, although it seems concentrated at higher frequencies, so maybe that can be fixed. Maybe it could also be caused by aliasing. Here is an audio file that was reconstructed through the WBVPM synthesis procedure using downsampling: files.catbox.moe/bhxjpw.wav
And a spectrogram: files.catbox.moe/kvrnkq.png
Compare to the spectrogram of the original: files.catbox.moe/d1vo16.png
PITCH ESTIMATION
Throughout this project, the most finicky part has been - and continues to be - the pitch estimation; specifically the Two-Way Mismatch algorithm for monophonic pitch detection. I have compiled several variations of the TWM algorithm. I tested one change that worked by scaling a term by the amplitude (I had actually though of this idea myself, and this term happened to be the term I mentioned causing me trouble last time), and it led to considerable improvement so I kept it.
There's also the adaptive window procedure that wraps the TWM f0 estimation. One thing I had been noticing for a long time was that Kaiser-Bessel beta values about 10% higher than the recommended values given in Cano 1998 seemed to perform much better. I had assumed this was just because of issues with my code, or the audio samples I was testing on. Much later, I was experimenting in python when I noticed a function called kaiser_beta which converted something else abbreviated to 'a' to the equivalent beta value. Previously in Cano 1998 and in other places, I had seen the Kaiser-Bessel parameter as alpha instead of beta. Up until this point, I had either not paid attention to this, or I had assumed that these had referred to the same thing. I did some research and found out that it converts between attenuation and the beta value for the Kaiser-Bessel window. Then I found that there is indeed an alpha form of the parameter and it is not that same as beta. Confusingly however, it is not attenuation, but both abbreviate to the same thing. The Kaiser-Bessel beta can be determined by just multiplying the alpha value by pi. Interestingly, this is much higher than the 10% I tested, however it seemed to perform better (or at least not worse) anyway. A possible explanation for this discrepancy is that the adaptive window is larger than the window I used to test the adjustment originally.
Another improvement relating to windows is the window used for the harmonics that are fed into MFPA. Originally, I had used the same Kaiser-Bessel window for both. I later switched to a Blackman-Harris -92dB window, which I had seen mentioned in the paper. This resulted in a significant improvement. Another improvement I tried was adapting the window size to a value relative to the period of the estimated fundamental frequency. I tried doing this - using the same number of periods as are used for the Kaiser-Bessel window used for TWM - and noted a substantial improvement, even more so than the improvement from switching to the Blackman-Harris window in the first place. Indeed, this matches the results contained in the study. In the WBVPM section, they observe a considerable improvement (up to -10dB) when using an adaptive window size when compared to a fixed window for narrow-band analysis. In that same section, they also found 2 to be the ideal number of periods for minimizing noise and also did experiments with a Hann window. Perhaps experimenting with these ideas could lead to improvements, although that section is about getting an accurate spectrum and reconstruction, which may differ somewhat in needs from the needs of MFPA. Another idea could be using a separate function for determining its adaptive number of periods, as opposed to using the same value as for the Kaiser-Bessel window as I am currently doing. Perhaps always using an integer number of periods could be beneficial. Another idea is only using one or two periods, which would provide better time resolution, and could be better suited for wide-band analysis as we are doing. Another potential improvement I have thought of, but not yet tested, is modifying the constant parameters of the Blackman-Harris window in a manner similar to the method Cano 1998 describes for the Kaiser-Bessel window beta (and that I have used for that), where the constant parameters (or in this case, parameters) are modified in accordance with the fundamental frequency.
Another potential for improvement of the MFPA results could be the use of a peak selection algorithm. I had previously used a very simple one I had found on another resource by the UPF Music Technology Group. Although this algorithm did not seem to show an improvement. I later removed it and saw no observable detriment. The paper does not provide details on this specifically, but I now understand why, so I should do more research with how this was tackled in SMS. One idea I've though of myself is to calculate the estimated harmonics and then search the surrounding area for peaks. We then select the peak with the minimum error, where that error is determined based on distance and amplitude. One formula I have thought for the error calculation but not tested is amplitude / distance^2. We want to search far enough to always have the best candidate, but not too far is to be computationally inefficient or run into floating-point error and instability in the error function. A potential improvement to this approach is instead of determining the initial estimate for the harmonic frequency by multiplying the fundamental frequency by the harmonic index, we could instead add the fundamental frequency to the peak that was chosen to be the last harmonic. This would account for drift caused by inaccuracies in the f0 estimation and also distortion in the harmonics. However, this also runs the risk of drifting away from the harmonics. A possible solution to this issue could be blending this estimated harmonic frequency with the one obtained by multiplication with the fundamental frequency. This could act as a sort of course correct that would work gradually, but at the same time keep the benefits of basing it on the previous selected harmonic peak.
Another potential improvement could be found by fixing sudden jumps in fundamental frequency that last for only a few analysis frames and then return to roughly the same fundamental frequency as before the jump. Cano 1998 calls for a "hystheresis cycle" - though I am not sure exactly what that means. I have implemented a simple system that discarded large relative jumps that last for only a single frames. However, this has two major issues. The first is that these jumps often last for more than just one frame. The second is that if I legitimate jump in f0 that stays occurs, this introduces one frame of lag.
MAXIMALLY FLAT PHASE ALIGNMENT
My last post was about MFPA, since then, I have made a number of improvements to this part of the system. I don't believe I have made any changes to the core MFPA function itself, but I have made a lot of improvements to the MFPA refinement algorithm as well as the code surrounding MFPA.
One major improvement I made only recently. The previous issue stemmed from what I now believe to have been a misunderstanding. The MFPA algorithm gives a phase shift for each frame. This can be converted into a time offset. However, unless the frame-rate is exactly the same as the fundamental frequency (in the instantaneous sense), this will give more or fewer pulse onsets than actually exist. At the time, I was using a high-pitched sample for testing whose f0 was much faster than the analysis hop-size of 256 samples (or ~172 per second at 44.1kHz). Because of this, there were usually more than one pulse in between each detected pulse onset. At the time, I had thought that getting all the pulse onsets was the purpose of the MFPA refinement algorithm. Which is why I was confused that the it was described as choosing a *subset* of the pulses and not a superset. At the time, I had implemented the MFPA refinement algorithm, but it was buggy and either didn't work or did nothing. Later, I began thinking of ways myself of getting the in between onsets. My ideas was to add increments of the f0 period until the next pulse was reached.
I eventually realized that the purpose of MFPA refinement algorithm was not interpolation, but to take a list of pulse onsets that could include multiple close estimates for the same pulse and narrow it down so there is only per pulse and such that the best one is chosen (actually it looks at a few additional candidates, which somewhat tripped me up into thinking it was about interpolation for long). For this to happen, the analysis hop-size needs to be greater than the fundamental frequency (if it was equal, it would likely slowly drift and eventually miss one onset). I realized the issue why the hop size was high (and thus the maximum frequency low) in the paper was that they were using low frequency audio samples in the range of 50-100Hz, while I was using samples around 300Hz. I adjusted to the hop size to 96 and got great results. I think I had also tried this before, but it had not worked, and it couldn't have, because this is only possible without decreasing the size of the analysis window within the overlapping window framework, which I had not implemented yet at the time I first tried.
However, this low hop size is relatively computationally expensive, so much so that f0 and MFPA peaks take up most of the execution time. A possible improvement would be to use a lower analysis rate and actually use the interpolation method, but then feed the interpolated pulses into the MFPA refinement algorithm as you would likely get better results that way.
I have fixed numerous bugs within the MFPA refinement implementation. A noteworthy one is that previously, I was not considering that the analysis window's time is in the center, and not the start. Because of that, the new onsets are now offset compared to the old ones, but I believe it is now correct.
The pulse onset selection is now quite good: files.catbox.moe/ik27fw.png
Close up: files.catbox.moe/urby2w.png
However, there are still deviations. Here is one at around 20k samples in one of my test audio samples: files.catbox.moe/76nlgo.png
So there is still some work to be done.
Another potential improvement could be the introduction of a system for detecting for formants and weighting them less in the MFPA calculation. Recall that phase is roughly constant within a formant, but not between them.
Thanksgiving thread!
What are you making? Where are you going?
Or, are you simply making do with a solitary repast in a dim room?
Even the most bedridden, mildew-encrusted NEET has something to be thankful for, I'd hope. So let’s hear it♪
Don't you ever find yourself getting infatuated with someone, and then when you think about it, it doesn't really make any sense?
it's just your mind playing tricks on you because of fear, loneliness, insecurity, or something like that?
>How?
I think I’m in a post-limerence phase since I haven’t seen this girl in a year, but sometimes I still find myself dwelling on her. At least I don’t have dreams about her or anything like that anymore (happy in dream, sad and start to cry when i wake up... maybe is just stress and the wake up cortisol).
time to time i talk to her via whattsapp and sometimes i truly believe she can be open if i asking her hang out, but I've never done this before, and I know it's going to go wrong in every way (there's a history here and maybe i liked her back in time but i know now there's just dust maybe)
She will go from this city next year.
it's beanie boy!! everyone say hi beanie boy
M̵̖̜̤̦̣̤͓̍̿Ả̷̡̨̛̹̘̥͉̬̙̤̰͔̯̠̯̯͛̈̊͐́̐̊͂͆̎̂̈́̿̽̃̑̀̒̊̌͂͘͝Ķ̶̡̖̺͓̠͉̣̱͖͆̄̄͑̍Ę̸̧͉̮̹͖̺̰̗̘͖̥̼͇͚̟̜̳̭̥͕͓͖̬̎̐͒̂̆̑͘͜͜͠͠ ̵̼̝͎̮͎̺͖͙̟͍̬̙͕̻͚̙͕͇̝̰̞̮͎̭̝̥̺̘̙͛̈́̀̎͜͝ͅT̶̡̡̢̛̛̛͙͇̺̠͖̪͕̱̮̺̱̗̳͆̍̽̏͆͐̓̋̀̏͐͐̆̇̏̊͗́̂͐̕̚͘̚̚͠͠͝Ḧ̴̢̡̨̡̨̛̟̳̟̰̮͚̱͉̯̫̠̠̰̞̠̦̥̖̙̱̪̗̠́̏̽̀͒̂̇̀̿̃͋̉̽̓̆̿͋͐͆̀̐͐͗͗͘͘͝ͅE̶̡̡̧̡̡̢̜̺̙̗̪͇͓͓̫͈͕̘͕͉̯͖͉͕̜̦͆́̽̂̉̑͛̾̾̾̔̀͑͘͜͠͠ ̶̳͈͋̒̄̋̓̂͊̽̌͌̿͊͂̂͋̈́̌̊́̎̾͒̂͛͒͐̚͠͝͝V̷̨̬̙̝̺̫͔̠͖̼̰̬̪̪̯̞͙̘̣̥̣̣̩̠̫̮̈́͋̾̀̚ͅͅÒ̵͈͎̯́̄̓̂̊̽̓͛̿͑̃̊̃̀̀̈̓͐̽̌̏͝Ḯ̸̡̨̡̗͓̻͖̟̤͎̘̦̻̪̼̳͈̰̳̺̯̞̥̤̜̪̥̊́͗̓̏C̵̨̧̡̧̺̮̪̬̩̤͍̥͙͔̝̫̜̹̝̹̮̹̠͙̙̏̂̃̊̉͐̈̋͗̈̇̉̈́̾̽͑̈́̃́̀͒̏̎̐̀̈̆͘̕͝͠͠ͅȨ̶̧̢̺͉̫̠͕̗̩͇̘̏̑̂͐̒̒̃̑̄̊̌͑̓̍͌͌́͌̕̚͝͠S̷̛̭̟̩̤͉̭̣͉͍͐̄͌̈́̇̍͋́̂̈́̆̑̋̌̂̂͌̃̿͋̀̕͘͝͝ ̴̡̢̧̤̤̦͓̗͙̗̖̰̫̘͈͔̖͙̗̼̱̝̭̞̭̖̞̱̱̄͋̐͊̂͗̑̆̈́͊̄̓̀̑̉̀̆̉̆̑̀̀̐͊̏̚͝͠͝͝ͅͅͅŞ̶̢̛̯̜̬̞͉̫̭̮͙̭̜̻̀̋̊̂̍̈́̓̈́̌̇͑̎̆͆̈̃̐̆̕͘̕͘͘͝͠͠ͅT̷̢̢̛̻̣͖̠͇̟̩̳͎͈̰̻̗͈̬͓̤͓͚̙͈͓͓̭̾̎̏͆͗̂͋̈̄̇̆͑͌̆͊̍̃̓͛̀̚̕͜͝͝Ǫ̵̥̬͕͖̰͇̹̺̗͔̘͓͔̖͓̏̀͑̋̒͑̾̉͒̋̀̕͜͜͜P̶̢̡̧͔̗͍̘̻̦̭̻͈̳͉͓̖̼̪̦̯̔̊͛́̽̔͑̇̓̋̊̋̔̋͊̎͑̾͂͋̕͠͝ͅ
Remember people pick up those pennies as they add up.
This is a thread about nothing.
hello back from 9chan!
whasgud?!
Vegeta, what does the scouter say about Marzichan's post count?
Why do all these homosexuals keep sucking my cock?
>>8592
>>8609
Moving this here so we can continue to talk guilt-free (if you want).
I know cyberpunk as a whole and 2077 in particular is a critique of capitalism, yadder yadder, but Night City is more than just a system, it's a place. A place is constituted of landmarks and hotspots and pathways and activity and people. Sure, it's a job that puts V in the red, but it's a man that actually kills him. Both are Night City. I'm sure the way we view and use money is a reason, maybe a big reason, as to why living in my place is oppressive, but it's much bigger than the systems of or the bodies within the place, it is the place. I am the place as much as the place is me, not so much as that I make the place (which I do) as that the place covers me, is part of my lineage. Even if my family has little history with the area that I'm living now, I was born and raised here and inherit its properties. To a large extent, I wear my place's inheritance with pride and joy, even if it is oppressive, because I know that it's a part of who I am. The class issue has always been oblivious to me, again because where I live such large gaps are muted. The top 1% of where I live would probably be lower middle class in a place like Chicago, and the top 50% would probably be the same in any 250,000+ city. Everyone's means are pretty close together. When you say people try to extract resources off of you, that also happens here, but there generally isn't that huge gap you can take advantage of. I'm usually the one who pays for someone else's dinner when eating out, but I've been in a place where other people have had to pay for me before, and the people I've paid for have had to pay for me sometimes too. No one's ever far enough away in the class system here to be truly over someone; even the big dogs around here, I think, have this same dichotomy, just with farther away interests. With all of that said, no offense for the expectation. I think my ruralness comes off very rough, and as I said just now, a place makes a person. I guess it's similar, but more mutual - I might be where that person is, so I'm going to help them here if for no other reason than I hope someone else helps me when I inevitably end up back there. I suppose if one had a better foothold, say someone like you, the relationship with resources would be different. It does suck when people feel the need to gain and do nothing else, especially because a lot of the time it's not for survival.
Going back to making money, it's easy to save money because 99% of all the things you can buy are useless knick-knacks and most of the remaining 1% is food and utilities; most of the rest of it goes to saving for big purchases, for example an emergency fund. I try to buy as little as possible, and it still feels like most of the stuff I buy, even the stuff I like buying, that I cherish, that has great meaning to me, is ultimately useless. It serves no real-world usage, even if I try and force it to. Donating the money is difficult because it requires directly knowing a source for it to go to and being able to push the resources to that place or thing; I think my money would be better used if I left it on my front lawn as opposed to donating it to some specific charity organization. It's too easy to make myself feel better because the stupid stuff I bought was for someone else who wanted a bunch of stupid stuff. Making money directly with and for your community is mostly impossible. Your only avenue is to find an artist's guild of some kind and join that. You'll only be helping the guild, ultimately, but you are contributing to your community in some way.
I think that loss of community is the ultimate cause for a lot of the problems people attribute to money. Your work, your friendships, your locale, your hobbies, everything is either globalized or isolated. It's difficult to go to a show or play video games or be involved in any kind of group project and have it be a community event as opposed to something you're doing with someone else - I don't just mean that in an "internet bad" way, mind you. There are plenty of real life groups I go to and have gone to, and most of the time we're just doing something we like together and not connecting over a shared goal or interest. I think the urban/rural question is about one's view on connections more than it's about systems or infrastructure, about the optimism one places in being able to connect with other people. A city is a conglomerate of an unimaginable amount of people, some cities the size of nations, many the size of nations come and gone. Do you think you have a chance to connect with any of those people? Whether you do or do not determines (at least in part) if you settle in an urban setting (where the chance for connection is high) or a rural setting (where the chance for connection is low.) I don't want to deny outright that massing people together in small spaces leads to a disconnect between them all, but I think a city's disconnect comes more from a cultural desire for it and a world that values it as opposed to any psychological reaction to seeing other people, if we make the bold assumption it exists at all in the way most people think about it.
I would say that identity is something that exists and can be formed as opposed to something that is created. For example, inheritance from your ancestors exists, and we take on the things of our forebearers from the moment we are born. If you do not feel any connection to those come and gone, though, then your identity can be formed away from them - it is based on but not dependent on them. It is immutable but not unchangeable. If I wanted to escape my identity of place, I could not, but if I wanted my identity to not reflect my place so directly, if I felt disconnected from where I lived all of the sudden, I could mold my identity into something not so reflective of my place.
I wanted to comment on belonging, but to be honest I don't know entirely what belonging somewhere entails, if it can be put specifically at all. I mentioned the concept of having your place in life and being able to move with all the other moving parts, but what does that look like? I don't think you can ascribe it to presence or absence of abrasion, because abrasive people can have their place in a community as well. Maybe someone who is quite different from the rest of a friend group can help people be serious when they need to be, or keep arguments more balanced, or add some new twist to a hobby that makes it more enjoyable when paired with the others, or something like that. I don't know that it can be measured by visible impact, because even small, niche people have their place in the world and change things. I don't know that it can be ascribed with permanence, because something can come and go and still be impactful - this is an extreme example, but consider repressed traumatic memories. Then, all of this depends on how you define permanence, abrasion, community, so on and so forth. Is fitting in and belonging the same thing? Surely I have to make an impact to belong, or is just being here enough? Isn't just being here impactful? I guess I can't give any other answer than "I want to belong." For what it's worth, I don't know that it's wise to give one place you have been more value over the other just because you were there longer. It's easy to look down on moving around a lot, because that's been enabled by globalization, and globalization has brought many ills on life, but there's nothing bad about moving around, really, so long as you belong wherever you happen to be. My problem is that I want my home and my action to align without any deviations. I want to be relaxed in the stress and calm in the serious. I know enough to know that isn't possible, but somehow I feel I won't be satisfied until it is.
I think my personal loneliness is so strong because I've become so isolated from other people and I can't force myself to want that deep down. The rural life does that. I've dedicated my time to a small few people, generally, and I somehow end up always cycling through them. It's not that those people mean less because they stuck around for only a year or so - I do take my own advice, mind you - but that I feel empty when I'm not focusing on people and I don't always have people to focus on. I do a lot of stuff that seems meaningful or impactful without other people, I enjoy my hobbies alone, I enjoy my time alone, but I feel empty without someone to share it with and it's always a long wait until it's time for someone else to come around. I feel like the community around me inherently rejects me, and even though I might enjoy doing things without a community, even though my life has meaning outside of other people, I feel like my life is incomplete and meaningless without them. I'm in this loop of pulling away from the idea of being with others in a meaningful way and being productive doing what I can on my own and throwing my progress to the wayside and yearning for others. I want to be able to be mad that I'm neglecting my close ones when I work too hard on myself. I always have this nagging feeling that I'm doing something wrong and should be tending to something else when I become to focused on my various works, but then I look aside to where my attention should be and there's not anything there. I always have this nagging feeling that I'm missing something important, even when things are going fine, even when things are going great. Even through all of this, I enjoy my isolation. I enjoy not worrying about other people. Sometimes it feels like I can't be concerned about others when I'm too close to them, that I'm designed to give everyone a wide berth. Maybe I just want that to be true, but I've been focusing hard on being productive independently and on living my life and not posturing as a life I don't have. I do my best to look inside myself and look back on my life a lot, as I do feel like that's necessary.
I think nationalism (in the modern day) comes from what I've gone over. In simple terms, [the want to have a community] + [the inability (perceived or actual) to acquire a community] = [posturing over imaginary shared goals with people you don't know (aka nationalism)] It becomes more complicated when you acknowledge that many people (in America at least) don't want a genuine community but recognize the need to fulfill that shared-goal desire, and so turn to nationalism to check all of their boxes. The idea that an entity as big as a country could come together towards a small group of ideas is absurd and everyone knows it's absurd. I couldn't even tell you how the guy two houses down lives, let alone someone on the Pacific coast. It's all imaginary and only entertained because it is necessary to continue our imaginary lives guilt-free. A lot of our would is imaginary because people dislike the genuine. Even the fence-line divisions you talk about are artificial. No separation is enough to actually keep two caring people apart from each other, and everyone hates that because the only thing anyone wants to be is apart, so we have to imagine differences (piggy-backing off of ones that actually exist, of course,) that keep us apart so that we can live the lives we wish to live.
I think the truth is that I'm satisfied where I am now. I recognize the problems in my life and am working at alleviating them. I'm trying to be as connected as possible. I'm trying to be meaningful with all of my thoughts and actions. I'm trying very hard, I think. I like places like mine. Gnawing, imposing, beautiful, deep and scarred. Alone. I just worry about what all of that says about me. It's also amazing to me how the worst games can have the best soundtracks sometimes, original or otherwise. There's this community-created song for a Roblox game; the song sounds like the most grand and impactful RPG boss fight you've ever had, and it's for some stupid speedrun-from-the-monster Roblox game. Check it out, if that sounds like your thing: https://inv.nadeko.net/watch?v=mXF41n2TZXo
People are stuck in strange counterproductive loops.
The more browsers you have, the bigger your penis.
Get on my level, plebs.
it has since now been done revealed to me that we (as the marziticens) lack that in which what is best otherwise knowneth as; "A film thread" rather in simpler terms, a chan thread unto which its main (but not sole) intended purpose is that to be; discussing films. For which I have but devised one rather peculiar solution; creating THAT of MY own. With but ONE rule; keep it funny keep it brief keep it SHORT.
Moving on with our first review;
The Batman (2022) starring; Robert Pattyburger. Yesterday I had the mere but opportune to give this diamond in not-the-rough a rewatch for quite some minutes (about eight or nine solid minutes) and I should say; besides the commendable cinematography (the scenes feeling brief and well paced despite being a three hours monolith of attention deificit litmus test) this film does but ONE job extremely well; specifying the one true villain of our modern times; "The Redditor" (as per we may call if it may be ever so appropriate to do so) and by that, the riddler, truly is but an archetype rather 𝓻𝓲𝓭𝓭𝓵𝓮𝓭 (ahashjdakjgjk) with "please punch me in the face" energy. Now this man has;
>An extremely annoying voice
>An ego bloated enough to think himself smart for coming up with (probably google results tbh) riddles that takes you 2 seconds to guess as the audience
>has a twitch/youtube/GothamTV channel on which he constantly livestreams his escapades
>Does that youtuber voice thing
>wears plastic rim glasses (cardinal sin)
>has an in-universe discord server where he talks to his friends about how they've all been wronged by (what I'm presuming is the working middle class or "late stage capitalism" or something) and "won't be lonely anymore" and stuff very often
>does the infamous face
while otherwise a film that does its job pretty good, one could argue that The Batman™'s The Riddler™ is the antidote to The Joker™'s The Joker™. Dense, annoying, dunning kruger, has a poor taste in glasses choice and seems to weaponize the tonality of his voice like but a child who's overadopted the habit of being vocally loud to disturb his parents into compliance. very good.
now YOU share your take on YOUR films
minion hang butt.jpg
open
creeepypasta
How do you make friends when you're in your late 20s?
It's a nice day to be out in the garden.
The singular and unrelenting reiteration of such ideas as “all there is is Being", “everything is the expression of Being” or “there is no one” are an arid and simplistic form of communication. It doesn't address or illuminate the dream seeker’s apparent dilemma and it obviously ignores the primary energetic essence of the implicit aliveness of simply Being. To continuously say that being awake or being asleep is not relevant because “Being is all there is” is like telling a blind person that it’s OK to be blind because “seeing is all there is”. This is pure idealism. Of course, there is no such thing as being asleep or being awake, but this is not seen until there is no one looking.
So I've been working on a project to re-implement the VOCALOID1 engine.
I'm basing it on the description in Jordi Bonada's PhD thesis "Voice
Processing and Synthesis by Performance Sampling and Spectral Models"
and not the original papers as the former is more detailed, easier to
follow, and also describes the VOCALOID2 engine.
After a lot of trouble with getting TWM f0 estimation to work, I've
finally gotten to implementing MFPA. And amazingly, it seems to have
worked first try.
Compare my results:
https://i.ibb.co/dsvgv0fd/Screen-Shot-2026-03-02-at-3-54-48-PM.png
To the results in the study:
https://i.ibb.co/C3fjdWVd/Screen-Shot-2026-03-02-at-3-55-09-PM.png
I'm hankering for the $5 slice n stix deep dish pizza but there are literally none around me. Are there any sleazy little caesies in the board right now?
helllloooo marzinons i am quite drunk from drinking cherry mead and am feeling very goooooood yayayayayayayayayayaaa
High impact sexual violence.
Why don't you have a seat?
bit of chicken katsu for dinner
I'd like to take this holiday to express my love for Marzimin and their little place they've offered to us. I like hanging out here a lot and I'm glad Marzimin made it for us, and I love you Zinons for being here with me, so thank you.
What are you guys planning on doing/have done? I'm probably going to snatch some of the in-house confections from the local markets. I know not all of them will sell, and they'll have to offer a discount tomorrow, heh.
What the fuck is really going on?
Hello guys, can you help me ? What type of weapon i need to get, for destroy everyone on this fucking world ? I HATE EVERY PEOPLE AND HUMANKIND WILL BE DESTROYED