Considering that Dylan Fitterer developed the algorithm for Audiosurf (which is a procedurally-generated rhythm game) through trial-and-error process to make it work well on most songs, this game naturally has some music information retrieval (MIR) algorithms (e.g. onset detection, spectral flux, etc.) that can be easily adapted into DSP effects like compressors, limiters and especially transient shapers and so, should FabFilter collab with an Audiosurf developer for complex algorithms for potential FabFilter Pro-L3 true peak limiter and also potential FabFilter Pro-T dedicated transient shaper?
Obviously. these adaptations would use a complex-valued IIR filter bank (which is time-domain filter bank) resembling an auditory filter bank implemented using a cascaded sliding windowed infinite Fourier transform (cSWIFT) algorithm unlike Audiosurf games (and even AUDIOMECH where it is realtime unlike AudioSurf and Audiosurf 2), which uses FFT (which is also complex-valued) that runs in frame-by-frame basis and has linear frequency scale unlike the filter bank method (which have sample-by-sample basis and nonlinear frequency scales like Mel, Bark or equivalent rectangular bandwidth/ERB), considering that these ideas I had for FabFilter ("Adaptive" style for Pro-L 3 limiter and a Pro-T transient shaper that works well on a full mix/master bus even in single-band/wideband mode) involves multiband detection with wideband execution (similar to Uni-L limiter and Unisum compressor from Tone Projects but with finer frequency bands like IRC IV's filter bank from iZotope Ozone 12 Maximizer albeit zero-latency minimum-phase instead of linear-phase, instead of three-band or broader ones Tone Projects uses for their compressor and limiter plugins) but with generous learning curve like FabFilter and unlike Tone Projects
BTW, such collaborations should be hidden behind acknowledgements section of FabFilter plugin documentations, much like Niklas Silen (aka. bManic) for Pro-L2 limiter
Considering that Dylan Fitterer developed the algorithm for Audiosurf (which is a procedurally-generated rhythm game) through trial-and-error process to make it work well on most songs, this game naturally has some music information retrieval (MIR) algorithms (e.g. onset detection, spectral flux, etc.) that can be easily adapted into DSP effects like compressors, limiters and especially transient shapers and so, should FabFilter collab with an Audiosurf developer for complex algorithms for potential FabFilter Pro-L3 true peak limiter and also potential FabFilter Pro-T dedicated transient shaper?
Obviously. these adaptations would use a complex-valued IIR filter bank (which is time-domain filter bank) resembling an auditory filter bank implemented using a cascaded sliding windowed infinite Fourier transform (cSWIFT) algorithm unlike Audiosurf games (and even AUDIOMECH where it is realtime unlike AudioSurf and Audiosurf 2), which uses FFT (which is also complex-valued) that runs in frame-by-frame basis and has linear frequency scale unlike the filter bank method (which have sample-by-sample basis and nonlinear frequency scales like Mel, Bark or equivalent rectangular bandwidth/ERB), considering that these ideas I had for FabFilter ("Adaptive" style for Pro-L 3 limiter and a Pro-T transient shaper that works well on a full mix/master bus even in single-band/wideband mode) involves multiband detection with wideband execution (similar to Uni-L limiter and Unisum compressor from Tone Projects but with finer frequency bands like IRC IV's filter bank from iZotope Ozone 12 Maximizer albeit zero-latency minimum-phase instead of linear-phase, instead of three-band or broader ones Tone Projects uses for their compressor and limiter plugins) but with generous learning curve like FabFilter and unlike Tone Projects
BTW, such collaborations should be hidden behind acknowledgements section of FabFilter plugin documentations, much like Niklas Silen (aka. bManic) for Pro-L2 limiter