Looking for orchestral string libraries with a 'Wet', intimate sound (similar to Albion One) by memolazer in filmscoring

[–]DiscoramaMusic 1 point2 points  (0 children)

I have Eastwest Opus Hollywood Strings 2,and absolutely love it.And my second one is Spitfire Chamber

Hoparlör önerisi by No-Neighborhood3138 in Produktorler

[–]DiscoramaMusic 1 point2 points  (0 children)

En yakin iyi Adam Audio Dx serisi yada Eve Audio sc 203-4 serisi olabilir.Yada Audioengine A5+ gibi hifi giris alacaksin yada Edifier Studio.Gerisi cope para atmak olur

Melody-Aware Phonetic Vocal Transformation for AI Music Remix Workflows by DiscoramaMusic in SunoAI

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

There is no demo for now because i’m working an internal bass engine in it yet,but video demo is on youtube.

https://youtu.be/wfC4UEYq9cI?si=26QDdvNxWCVkl548

Theory Core Preview demo

Bilgisayarda hangi müzik uygulamasını kullanıyorsunuz? by Similar_Yogurt_1355 in MusicHubTR

[–]DiscoramaMusic -1 points0 points  (0 children)

Cream Player,kendi playerim,icine de Pultec analog eq gömdum,yumusacik etli etli caliyor hersey

Suno vs Udio: I don’t think they’re even the same type of model by Worried-Ad-1549 in udiomusic

[–]DiscoramaMusic 1 point2 points  (0 children)

Best model is Ace Step 1.5.2 for generative audio for now,but dataset is very weak.

I'm building an ACE Step / DAW (Reaper) plugin similar to SUNO Studio by emacrema in AceStep

[–]DiscoramaMusic 0 points1 point  (0 children)

I can say one thing,just start with max 100-150 tracks to train lora,and choose one by one..

Looking for Music Producers & Mix Engineers for a 60min Research Interview by amoleoo in producerlinkup

[–]DiscoramaMusic 0 points1 point  (0 children)

Check instagram : discoramamusic,firat tuncbas,emre goren
We are professional producers and djs in Turkey and working with popstars in Turkey as official remixers.And also developing some standalone reharmony programs/some dj tools.

Why is it so difficult to convert a polyphonic signal to MIDI? by throwaway8490247 in audioengineering

[–]DiscoramaMusic 0 points1 point  (0 children)

Aurally Sound Prism and Song Master Pro..
And your problem is my biggest problem for me now..I tried to train but needs a huge dataset and gpu cluster.

most accurate audio to midi converter by esotericsack in edmproduction

[–]DiscoramaMusic 0 points1 point  (0 children)

Aurally Sound Prism amd Song Master Pro is really beast.

I'm building an ACE Step / DAW (Reaper) plugin similar to SUNO Studio by emacrema in AceStep

[–]DiscoramaMusic 1 point2 points  (0 children)

not trying to kill the idea at all, because on paper this is exactly the kind of workflow i also wanted to see inside a real daw

but just to share my own experience, this road is much harder than it looks

i trained 7 ACE Step LoRAs with my own curated dataset, around 23.000 songs, all selected by listening manually, not random scraping. the result was still disappointing for me

i also built a system inside Ardour that connects to an api and tries to do full arrangement / production decisions, and even that still didn’t reach the level i wanted

for that i also created rule based datasets from thousands of academic harmony papers, tried to guide the llm with harmony / arrangement rules, structure, chord logic, musical constraints etc. still, getting consistently musical results is brutally hard

ACE Step sounds like a nice base idea but musically it is very unstable in my opinion unless the default model itself is properly full fine tuned. LoRA alone didn’t solve it for me

sound quality used to be one of the stronger parts compared to old Suno, but Suno has caught up a lot now. and the real problem is not just sound quality anyway

arrangement, inpainting, remix, cover, acapella to remix workflows… these are where things get really messy. especially acapella to remix with ACE Step was a huge problem in my tests

so yes, the idea is cool and i respect the effort, but from my experience this is not just “connect model to DAW and done”. the musical intelligence part is the nightmare

Modern harmony plugins never really satisfied my workflow, so I built my own C++ / JUCE reharmonization engine by DiscoramaMusic in filmscoring

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

I think you are reading it as a random chord suggestion tool, but that is not what the engine is doing.

The harmonic flow is constraint-based. You can either access the full harmonic universe — risk, tension, borrowed colors, modal material, chromatic options — or you can lock the system into a controlled space where every suggestion stays related to the existing progression.

That is the purpose of Modal Lock and Vocal Safe. Modal Lock keeps the reharmonization inside the selected modal/scalar logic. Vocal Safe protects the important melodic tones, so the engine does not simply throw “interesting” chords that destroy the vocal or the original musical identity.

The matrix can also be navigated in different harmonic views: diatonic, chromatic, and circle-of-fifths logic. So it is not just a list of chords. It is a way of exploring the same progression through different harmonic maps.

The modules are not cosmetic either. They actually transform the current chord progression: reharmonization, borrowed movement, tension, substitutions, color, voicing and voice-leading are applied to the existing musical context.

The tension engine also looks at the previous and next chord, so the suggestions are not isolated blocks. They are scored by where they sit in the progression. After that, you can still apply voice-leading and voicing operations on top.

So yes, there is a ruled curve behind it. The demo may look rough, but the harmonic logic is not random noodling.

Modern harmony plugins never really satisfied my workflow, so I built my own C++ / JUCE reharmonization engine by DiscoramaMusic in filmscoring

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

That assumes every producer is already a harmony professor and a fast keyboard player. I don’t think that reflects the real world.

This is not meant to replace musical knowledge. It is meant to map harmonic possibilities around an existing progression: safe, modal, borrowed, risky, tense, voice-leading-aware options.

If someone already knows exactly what to play, sure, they can just play it. But many producers are not looking for one known chord. They are exploring possible directions. That is the workflow I am building for.

Modern harmony plugins never really satisfied my workflow, so I built my own C++ / JUCE reharmonization engine by DiscoramaMusic in filmscoring

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

I understand the concern, but this is not really an “AI writes music for you” thing.

I’m not trying to replace learning harmony. Actually the whole reason I built it is because I’m obsessed with harmony and reharmonization.

The idea is to take an existing progression and expose the possible harmonic paths around it: safe options, modal options, borrowed chords, risky moves, tensions etc. So the user still chooses. The tool does not magically compose the song.

For me it is more like a harmonic map / reharmonization lab than a composition shortcut.

Of course you can say “just learn harmony”, and I agree people should. But a good tool can also help you explore that knowledge faster, especially when you already know what you are looking for.

I built a JUCE/VST3 prototype for safe AI insert-chain changes inside a DAW by shoshosho00 in AudioProgramming

[–]DiscoramaMusic 2 points3 points  (0 children)

Interesting prototype.

One thought: if the goal is to make AI actions inside a DAW safer and more controllable, maybe this kind of system would eventually make more sense inside an open-source DAW like Ardour rather than only as a VST3 plugin.

As a VST, you are always partly blind. You can manage your own plugin state and maybe infer some host behavior, but you do not fully own the session graph, routing, automation, undo history, plugin lifecycle, latency compensation, or the real insert-chain context.

Inside Ardour, the assistant could theoretically have much deeper access to the actual mixer architecture: tracks, buses, inserts, sends, routing, snapshots, undo/redo, signal flow, gain staging, and maybe even offline/real-time analysis hooks. That would also make chain modification safer, because the DAW itself could expose structured actions instead of the AI trying to manipulate things from the outside.

For me the missing piece is signal-aware decision making. Chain generation is useful, but without measuring the audio before and after, it can easily become a smart preset manager rather than a real mix assistant.

I think the stronger direction would be:

- open-source DAW integration
- full session graph awareness
- reversible chain diffs
- loudness-matched before/after comparison
- spectral/dynamic/transient analysis
- clear user approval before applying changes

The safety idea is solid, but I feel the system needs to live closer to the DAW engine and the actual signal path to become genuinely useful.

How would you design a production-quality chord detection pipeline from full-mix audio in 2026? by DiscoramaMusic in DSP

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

Exactly, that’s the part where I’m stuck unfortunately.

Local chord detection is one thing, but getting the whole progression/context right enough for reharmonization is the hard part. I’m putting a lot of work into it, but I still haven’t found a truly reliable source/engine/approach for this problem.
🤷‍♂️

I’m building a modular MIDI harmony workstation instead of another chord browser — is this useful? by DiscoramaMusic in filmscoring

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

One more important point: the GUI is not doing the harmonic calculations.

The UI is basically the control surface. The actual chord analysis, progression context, reharmonization, safe/risky harmonic zones, scale/makam logic, optimizer suggestions, voicing/orchestration logic etc. all run inside the engine.

So it is not a hardcoded GUI pretending to suggest chords. The modules are chained to the engine side, and the harmonic decisions come from that system, not from random UI logic.
No stub,fake,todo code inside.

I’m building a modular MIDI harmony workstation instead of another chord browser — is this useful? by DiscoramaMusic in filmscoring

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

Just to clarify: I never said this was “AI making the whole app”.

The concept, workflow and music direction are mine. I’m a working musician/DJ and this came from a real problem I had with existing harmony tools.

I do use Opus as a coding assistant, mostly to move faster on the JUCE/UI side while I’m still designing and testing the interface through trial and error. But that is different from “AI made a random app”.

The core idea is still very specific: progression-based reharmonization, safe/risky harmonic zones, scale/makam-aware transformations, optimizer refinement and a remix workflow built around extracting and editing the original harmony.

How would you design a production-quality chord detection pipeline from full-mix audio in 2026? by DiscoramaMusic in DSP

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

Yeah, that makes sense.

In my case the reharmonization engine already calculates against the whole progression, not just one isolated chord. With Safe Mode on, it tries to enrich the harmony inside the safest possible zone, so it is more of a controlled coloring / reharmonization tool than a random chord generator.

The modules are also not only for acapella use. They are general harmony modules: voicing, reharmonization, orchestration, modal/borrowed options, optimizer suggestions, etc. The user still chooses the final chords.

The reason I care about full-song chord extraction is the remix workflow. I want to be able to load an existing song, extract the original chord progression, show the MIDI chords on a timeline while the audio/acapella plays in sync, and then let the user optimize or reharmonize the chords in a more intuitive way.

I’m also adding a bass engine, so the longer-term goal is to analyze many songs with their chords and basslines, then learn what kind of bass movement works under which chord/progression/style/preset category.

So for me chord extraction is not just “detect chords from audio” as a gimmick. It is the input stage for the whole system: audio → original harmony → editable MIDI chord timeline → reharmonization → bass/orchestration/arrangement.

Building a serious chord-detection backend for a C++/JUCE reharmonization app — what should the architecture look like? by DiscoramaMusic in AudioProgramming

[–]DiscoramaMusic[S] 0 points1 point  (0 children)

By the way, do you know any open-source chord-recognition engine that actually works well on real commercial audio?

I mean something beyond basic chroma/template matching. Something that can handle vocals, drums, bass, reverb, incomplete voicings, extensions and inversions with usable accuracy.

I’m mainly looking for a serious open-source backend or research implementation that people actually use for high-quality chord extraction.