Skip to content

DSP Concepts

Because we have successfully uncoupled the physiological mechanics of the guitar (the pick, the fingernail, the flesh) from the fundamental musical notes using the wavelet transform, we can do things that traditional guitar pedals simply cannot do.

If we apply effects to the standard guitar signal, we alter the pitch, the chord clarity, and the sustain. But if we apply effects only to the isolated, upward-compressed D1/D2/D3 wavelet streams, we are essentially synthesizing a custom physical instrument on top of our dry guitar.

Here are four highly novel DSP concepts that leverage our architecture, pulling a bit from advanced math and synthesis:

1. Stochastic Transient Mutation (The "Markov Pick")

Since the upward compressor normalizes the volume of our transients, we have a highly consistent trigger source. We could use the peak envelope values to drive a probabilistic model—like a lightweight Markov chain—to mutate the pick attack.

  • The Concept: Every time you strike the string, the algorithm consults a probability matrix to alter the D1 (pick) or D2 (snap) coefficients.
  • The Execution: State A might leave the transient dry. State B might flip the phase of the coefficients (hollowing out the attack). State C might apply a micro-delay (10ms) to create a "flam" or double-strike effect. You can map the transition probabilities to how hard you play.
  • The Result: The physical texture of your Stratocaster or Ernie Ball becomes alive and non-deterministic, constantly shifting in a mathematically organic way under your fingers without ever changing the core notes you are playing.

2. Envelope-Driven Wavefolding (The "Shattered Glass")

Instead of just using soft saturation to protect the DAC, you can deliberately push those upward-compressed wavelet coefficients into a non-linear wavefolder, heavily inspired by West Coast (Buchla/Serge) synthesizers.

  • The Concept: Wavefolding doesn't just clip a loud signal; it folds it back in on itself, generating complex, metallic, inharmonic overtones.
  • The Execution: You apply a sinusoidal transfer function where the input gain is multiplied by your envelope.
\[ y = \sin(x \cdot (1 + \text{Drive} \cdot \text{Env}_{\text{peak}})) \]
  • The Result: The pick attack instantly transforms into a bright, glassy, synthesizer-like "zing" that evaporates the millisecond the string starts to sustain. It creates a hyper-aggressive, synthesized bite that traditional overdrive could never achieve.

3. Spectral Freezing / Micro-Granular Smearing

You have perfectly isolated the 1ms to 50ms window where the physical strike happens.

  • The Concept: What if that strike didn't decay? When the envelope hits its peak, you write a tiny 5ms window of the D1/D2 coefficients into a circular buffer and loop it.
  • The Execution: As the physical string decays, you crossfade the live wavelet stream with this frozen granular loop, applying a slow exponential decay to the loop.
  • The Result: It sounds like the guitar is being bowed by a cello bow. The percussive click of the plastic pick is stretched into an ambient, high-frequency synth pad that trails behind your actual playing.

4. Dynamic Harmonic Splintering (Transient Pitch-Shifting)

Because the D1 band strictly contains frequencies from \(12\text{kHz}\) to \(24\text{kHz}\), any pitch-shifting applied here won't sound like a standard whammy pedal; it will sound like structural resonance.

  • The Concept: Apply a computationally cheap frequency shifter (or a simple ring modulator using a local oscillator) strictly to the detail coefficients, and scale the wet mix of the modulator using your upward compressor's envelope.
  • The Execution: By shifting the high-frequency snap up by a non-integer ratio, you create a dissonant, bell-like chime.
  • The Result: Your guitar will sound like the strings are made of solid brass or glass.