Also works as a synth effect…
Chladni Synth Meets GFFP Effect.audulus (684.8 KB)
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I was inspired by Pittsburg Modular’s warp circuit. After noticing that high harmonic content seems to make for better reverb effects down the line, I thought I should try running a real stringed instrument through it. That is, @robertsyrett slapped together a folding module for squarewaves. So I thought I should see if strings sound better running through this module. I think so. Here is a patch for stringed instruments. It also incorporates @robertsyrett’s audio envelope. Slapped together in 5 minutes, I will be exploring this more. I think some ground can be made by treating the audio envelope as the master modulator, then breaking out into other envelopes, attenuators, attenuverters, etc…
Mature Reverb.audulus (288.5 KB)
Try plucking a string, mute it with your hand and listen to the tails. Or just play and get a nice dampened wash.
Also, does anyone know how to derive a gate from an envelope, or from the audio signal itself. It would be nice to have a threshold gate. Then as soon as there is a rise in that audio signal, one could get a gate for other purposes. I know you guys have done this somewhere.
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Okay. So I tipped over the mountain here today. Personally, I have just unlocked the Chase Bliss world for myself. Mainly this is because of the audio envelope tool, as well as the Delay Looper Sync and the Delay Clock Sync. These have been around for a while, it was just a matter of getting into it. But also, just getting a chance to interact with the pedals in a soundproof room for a while gave me an idea on how to start riffing off of them.
Quite a few of the Chase Bliss pedals are digital delay based. They have loop circuits, and “ramping” lfo’s. Thermae, Mood, and Dark World seemed very similar to me.
So I think what I have here is just the foundation for a lot of interesting experimentation.
Blasé Chintz.audulus (529.1 KB)
If you are into guitar pedals and want to upload some configurations here, please do. I feel like I just walked into a new land.
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I am going to fill this post with various humble iterations. This one gets a little more infinite. Obviously, these patches are for running your guitar/bazuki/cello through.
Blasé Chintz 2.audulus (529.1 KB)
Added a tape degrade stage. Has a long loop delay. (Fixed)
Blasé Chintz 3.audulus (564.6 KB)
More immediate. More wild.
Blasé Chintz 4.audulus (580.1 KB)
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Yes, the impulse detector.
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Here is a ukulele run dry through Audulus in one take, into the patch below and recorded dry in AUM.
https://soundcloud.com/futureaztec/high-noon-3rd-master
High Noon.audulus (653.5 KB)
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That’s some crazy sounding uke! 
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The track was a bit quiet, so I treated it with the Isotope trial software. Probably compressed it a bit too much. But no guitar pedals were armed during the test, those are just Audulus effects.
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Here’s an audio gate I put together this morning. It consists of an envelope follower fed into an attack-release module. the output of the module is compared to a threshold level and the gate goes high if the threshold is exceeded. The attack and release times are adjustable. Although it’s labeled as an audio gate, you can feed audio, an envelope or LFO signal into it, any signal will work. To use it as a noise gate use the gate output to control the signal level. It’s really pretty similar to @robertsyrett’s Audio Envelope, but the variable AR adds some functionality. In @robertsyrett’s design the slew is applied to the output but in this case the AR is applied to the signal before the threshold detector.
Audio Gate V1.0.audulus (24.9 KB)
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Wow, that’s super nice! I especially like the attack/decay filter inside. 
I was wondering, is it possible to make linear slew using z-1 filters? I tried looking it up myself but all the DSP I could find involved convolution of triangles and rectangles and I was left scratching my head about how to implement that in Audulus.
Thanks for the compliment. BTW if you have an earlier version of the uAR I put together, I think the attack and release are swapped. I did a newer version of both a linear and exponential AR here:
Note that currently they both only work for positive signals. I’m working on a design that will work for positive and negative going signals but it requires a somewhat different approach.
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I have updated my library.
Because of the exponential calculations?
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After working on it for a while, I came up with a more concise design.
It now accepts positive and negative values and I combined both linear and exponential outputs in a single module.
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Just a question here @robertsyrett and @stschoen
I see there was a major revision to the A/R or slew or whatever. Do I need to change anything in @robertsyrett’s Audio Triggered Envelope?
Also, is @stschoen’s Audio Gate still current or do I need to make alterations.
Thanks guys, just got some new pickups in and I am really looking forward to digging in a bit here. 
- After experimenting for a while I have to say, that Audio Triggered Envelope is a really excellent tool for guitars. It’s very responsive and smooth. Also useful when broken out with an ES-8. It should be a standard module in the library since it opens up a use-case world for guitar pedal interests.
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Empty Patch 4.audulus (103.6 KB) I am getting some strange behaviour. When I use this patch, I end up with a long sample playing out of only one side. But it starts about 15 seconds after my first few notes, like a looper. I imagine it has something to do with the way the knob parameters are implemented for “onset” on the reverb module.
This is the most current version of the Audio gate:
I combined the linear and exponential versions and made some alterations to the internal logic.
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That is decidedly weird. This version of the uVerb is a @biminiroad modification of my original design. He created a stereo version by doubling the mono unit and delaying one side by 2 ms. As a result, the onset of the left channel never goes below 0.002 whereas the onset of the right channel can drop to 0. For some reason when the onset is 0, it causes that delayed “ghost” echo. Since only the right channel can drop to 0, you only get the effect in one side. I don’t think I ever tested it with the onset at 0 so I never noticed it. I modified the uVerb in the patch to prevent either channel from dropping to zero:
Modified Empty Patch 4.audulus (103.8 KB)
I have been really happy with uVerb. It’s not too CPU heavy and I can drop a few of them in here and there.
Should this be posted in the modules section with an update? We have so many buried modules and some buried bug fixes. It seems to me that having a good reverb is pretty crucial.
The version of the uVerb you used is part of the reface library. Since Mark is no longer working for Audulus, I’m not certain what will happen with this version of the library at this point but I’m not sure that posting modified versions of the individual modules would be wise. In this case the “glitch” only happens if the onset is set to 0 so it shouldn’t occur often in practice. I don’t think I ever posted the original version on the new forum. I was never totally satisfied with the original uVerb. I’ve fooled around with it a couple of times but so far I haven’t been able to improve it much. Maybe it’s time to re-visit the design.
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From what I am seeing there is an explosion of DSP algorithms. What I got from Duda, was just use some. Don’t try to comprehend it – at least not all of it always, immediately.
It is hard to make the case to builders on the forum as to why the Reface library is so important. We put so much stock in the idea that a car owner who understands their car is competent. However, as talent increases, you want a good driver and a good mechanic and it is really amazing to do both at a high level, but also pretty rare.
I want to produce beautiful finished tracks often (a goal not a claim). If I was building tools I don’t think I would be “driving” enough to actually get a shot at the podium. I figure its probably fun for the racing team if they have a driver that might actually have a shot. This is not to say that I am a good driver or that I have a shot. But there has to be lots of us trying for there to even be a race.
I think some front forward offerings can seem bloated and gerrymandered underneath. The thing is though, either a filter sounds good or it doesn’t. Just the inclusion of a drive knob on the filter is a very useful feature, for example.
If I get up to perform a set, some people might know I made this tool or that tool. But really either the song is good or it isn’t. I think its a bad idea to overly emphasize DIY, just as it is somewhat empty to simply scour the tech news feeds for gear and play and throw away.
Seems to me that someone would almost have to be in good brain shape (solving equations daily) to hit those “newer” reverb algorithms. However, due to the large amount of people doing just that over the last few years, I expect there are a lot of usable math bits laying about.
I also think that because these DSP concepts are logical, even if Audulus 4 is coming, there is no wasted time working on reverb.
I like that we have two in the reface library. One that I can drop here and there, but then a larger spacial one. I wish I could work on this stuff, as it must be really fun when you build it and it sounds good. But I do think there is merit in self-limiting and sticking to a few specific interests over decades and just developing those specific roles.
I should add, I am reading this – which gets to some of the more nuanced issues with DSP rights.
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