If the drone can stabilize itself within 2 oscillations it is ready for the auto-tuning procedure. If not, go to the troubleshooting section, which explains the minimal manual tuning to prepare the vehicle for auto-tuning. The auto-tuning sequence must be performed in a safe flight zone, with enough space. It takes about 40 seconds between 19 and 68 seconds. For best results, we recommend running the test in calm weather conditions.
Select either the Rate Controller or Attitude Controller tabs. Ensure that the Autotune enabled button is enabled this will display the Autotune button and remove the manual tuning selectors. Stop moving the joysticks and click on the Autotune button. Read the warning popup and click on OK to start tuning. The drone will first start to perform quick roll motions followed by pitch and yaw motions. The progress is shown in the progress bar, next to the Autotune button.
If any strong oscillations occur, land immediately and follow the instructions in the Troubleshooting section below. If the drone was not moving enough during auto-tuning, the system identification algorithm might have issues to find the correct coefficients. Due to effects not included in the mathematical model such as delays, saturation, slew-rate, airframe flexibility, the loop gain can be too high.
To fix this, follow the same steps described when the drone oscillates in the pre-tuning test. By default MC vehicles land before parameters are applied, while FW vehicles apply the parameters in-air and then test that the controllers work properly.
This is not a MAVLink-compliant implementation of a command protocol long running command opens new window. PX4 should stream progress as the protocol does not allow polling. PX4 uses PID controllers rate, attitude, velocity, and position to calculate the outputs required to move a vehicle from its current estimated state to match a desired setpoint.
The controllers must be well tuned in order to get the best performance out of a vehicle. In particular, a poorly tuned rate controller results in less stable flight in all modes, and takes longer to recover from disturbances.
Generally if you use an airframe configuration that is similar to your vehicle then the vehicle will be able to fly. However unless the configuration precisely matches your hardware you should tune the rate and attitude controllers.
Tuning the velocity and position controllers is less important because they are less affected by vehicle dynamics, and the default tuning configuration for a similar airframe is often sufficient.
Autotuning provides an automatic mechanism to tune the rate and attitude controllers. It can be used to tune fixed wing and multicopter vehicles, and VTOL vehicles when flying as a multicopter or as a fixed wing transition between modes must be manually tuned.
In theory it should work for other vehicle types that have a rate controller, but currently only the above types are supported. Automatic tuning works well for the multicopter and fixed wing vehicle configurations supported by PX4, provided the frame is not too flexible see below for more information.
The vehicle must be flying in an altitude-stabilized mode Altitude mode , Hold mode , or Position mode. Add page 45 to Favourites.
Unlike the other correction objects, Notes do not provide a blue correction curve. The implied correction curve is the horizontal Pitch Graph line upon which the Note is centered unless the Note has been moved o!
This is much easier to understand visually than to describe. Simply zoom in on a Note and adjust its Retune Speed over its entire range. You will see the green output curve change in real time and all will be clear. Check out the tutorial in Chapter 4 for an example of working with Notes.
Number of Note Objects When Auto-Tune 8 analyzes the input pitch for the purpose of creating Note objects, it must make decisions about what constitutes notes and what constitutes transitions between notes as well as di erentiating between a single note with wide vibrato and a series of separate notes of alternating pitch. The Number of Note Objects control lets you give Auto-Tune 8 some guidance in making these decisions. If no audio is selected, the knob will not become active. Once some audio is selected, the knob will become active.
To set the Number of Note Objects value for all tracked audio, double-click the I-Beam tool in the Pitch or Envelope Display to highlight the range of all tracked audio. If not, frustration is almost guaranteed to ensue.
Add page 46 to Favourites. As you might imagine, when Number of Note Objects is set to intermediate values, the results fall somewhere between these two extremes. In those cases, you can use the editing tools described later in this chapter to quickly and easily modify any errant Notes. Again, what may seem slightly bewildering in verbal description, is immediately obvious when you see it in action. So track some pitch and experiment with the Number of Note Objects control.
Retune Speed The Retune Speed setting is used only during the pitch correction process. In Graphical Mode, the target pitch is not the scale tone nearest to the input, but rather the blue target pitch object for Curves and Lines or the exact note represented by a Note object. The Retune Speed control allows you to specify how quickly Auto-Tune 8 will change the pitch of the input to that of the target pitch curve or Note Object pitch. A value of zero will cause the output pitch to precisely track the target pitch of a curve line or be locked to the pitch of a Note object.
As ever, you should let your ears be your guide to selecting the proper value for each note in a particular performance. Since each correction object Curve, Line or Note can have its own independent Retune Speed, the Retune Speed control is only active when at least one correction object is selected. Add page 47 to Favourites. If you select multiple objects with di erent Retune Speeds, the Retune Speed control will move to a value that is an average of the Retune Speeds of all of the selected objects.
With independent object Retune Speeds, getting exactly the desired e ect for every note of a performance is a quick, simple, and intuitive process. Adjust Vibrato The purpose of this function is to let you quickly and easily change either increasing or decreasing the depth of an existing vibrato, while preserving the original shape and character of the vibrato.
Set the desired amount of change either more or less using the Adjust Vibrato knob. A variety of results can be had by experimenting with iterative adjustments to both functions. Therefore, you can typically select a portion of your audio containing both vibrato and intended pitch change and the Adjust Vibrato function will scale the vibrato while leaving the intended pitch changes alone.
But again, depending on the actual performance, sometimes this will work better than others. The default Adjust Vibrato setting is 0. Add page 48 to Favourites. While the overall Throat Length for your track is still set by the master Throat Length control in the Common Controls section, each correction object can have its own independent adjustment either longer or shorter as desired. NOTE: Since each correction object can have its own independent Throat Length adjustment, the Throat Length Adjust control is only active when Formant Correction is enabled and at least one correction object is selected.
The default Throat Length Adjust setting is 0 in which case the object s will have the Throat Length as set by the master Throat Length control. NOTE: Although virtually all major hosts these days allow the routing of MIDI to plug-ins, there may still be a few hosts lurking out there that do not support it. If you happen to be using one of those, this MIDI function will not be available.
Add page 49 to Favourites. If notes overlap, you may or may not get exactly the result you want. If not, simply edit the MIDI data or play more precisely. Otherwise it works on all red MIDI data. Since the assumption is that you will create your MIDI track with your desired timing, the recorded MIDI notes are not a ected by the time manipulation tools. Use the time tools described later in this chapter to adjust the timing of your audio to match the timing of the displayed MIDI notes.
Add page 50 to Favourites. This can be particularly useful when selecting edit points during time editing. You can resize the Graphical Mode window to take advantage of those nice big high-resolution monitors that have become so a ordable. In VST hosts, resizing is limited to a maximum size of x pixels — still not too shabby. This is probably the most useful mode with Curve and Line correction objects.
Optionally, the amplitude envelope of the displayed audio can be displayed as a background element of the graph. On the display, the vertical axis represents pitch with higher notes towards the top while the horizontal axis represents time. The horizontal grid lines or lanes depending on the current display mode represent scale pitches. The grid lines provide a reference to guide you in drawing and editing correction objects.
0コメント