1) Harmonic sieve or autocorrelation.
2) Onset Synchrony.
This is how you group and isolate sounds.
Note from earlier today sitting in my post. Must reread source to understand.
Arnold tongue is my favorite of those. Phase-locking. Each of those black thick alleys are areas of phase locking, the inbetween is the colorful chaos. Each connection to “ground” at the bottom? Fractions. 1/2, 1/3, 1/4, 2/3, etc.
What I’m reading is fascinating to me as it’s about pitch grouping – and the guy is going through all of the ways that “almost” but don’t work, or that are sufficient but not necessary and therefore not ‘it’.
Ahh! if you can’t depend on phase locking, there’s other ways. Oh, there’s one classic way that can handle stretched and compressed signal, out of phase, disrupted, etc… Manhatten something?
it’s asynchronous — hm.. gotta find the name.
Clock is mathematically inserted. Manchester encoding is VERY fault tolerant but it has speed limitations.
That was quite good.
But yes, forecasting vs forensics.
I’ve seen a breakdown into three as well: explain, predict or describe.
I prefer describing. It does not try to explain or predict. Say what you see. It makes a good foundation or can stand alone.
It gave me food for thought. Thinking: category (F0) with members (harmonics) orthogonal to the category — is the grouping and the onset time is the discrimination.
That’s why in a few clever classic songs, it’s impossible to tell two distinct instruments apart if they’re written to be played simultaneously and professional skilled musicians perform the piece.