lol. Oh man, I looked inside and it’s like a freaking foreign language.
I am ring modulating the oscillator bank.
Hehe! I think we have the same basic architecture, lots of oscillators into some filters.
I chose coprime frequencies and then ring modulated them for extra dissonance. I also made a crossfade between the sin and triangle waveforms and a crossfade between the dissonant chord and the ring modulated side bands. So “S/T” is for sine to triangle and “SB” is the amount of inharmonic sidebands (approximately). “Fc” is the center frequency of the filter, and “Q” is the resonance. I will make SVG faces for these since I am pretty happy with the design right now.
That perc’ed me right up!
It’s A Trap! - Sizz Cymbal eall123 mod Skinny v007
- pitch sweeps up with pitch low and high knobs
- renamed stick knob “bell tune”
- pitch waveform out
- (bug: won’t stop ringing. fixing)
It’s A Trap! - Sizz Cymbal eall123 mod Skinny v008
- fixed non-stop ringing
- removed wash knob
- sequencer hold example
- pitch waveform
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It’s A Trap! - Sizz Cymbal eall123 mod Skinny v019
- “highs” decay knob changed to a more suitable range
- added a velocity knob
- retuned position knob
- tuning sweep displays corrected
- waveforms mirrored
- lfo knob
- flip buttons for lfo and pitch sweep
It’s A Trap! - Sizz Cymbal eall123 mod v021
- took “SKINNY” out of the title
- kind of medium thickness now
- added “mid” channel
- added some oscillators
- redistributed the oscillators across the three channels
- simplified knobs
- added drive knobs
- added lfo rate knob
- added sustain knobs
- spaced the envelope and filter knobs a bit
- osc modulator patchboard inside patch
- arranged constant knobs inside patch
- added constant volume knob peak meters
- added osc modulator wet/dry constant knobs
- added pulse-width constant knobs
- added highpass filters on low and mid channel
- shrunk down the size of the clock and sequencer
(Still need to dial in the sound. Just working on the interface these past few days)
Excellent progress (watching closely). It seems like it could use some kind of open/closed parameter – as I was exploring, it almost felt limited in a legato sense. I had never thought about this, but you might want to consider some kind of polyphonic overlap so that when it is ‘open’ you don’t end up with gated tails. I almost feel like a velocity factor (where the impact directly effects the length of decay), could give it a more responsive feel.
I’m still trying to wrap my head around that one. Want that metalness.
When you are done, let me know what you think of the snares on hand around here.
The Oscimillator module is close to percussive, but I find there is still some elusive treasure I can’t quite dial in.
Wow. That Sound On Sound article is in depth. Will read and let you know.
What kind of spectrum analyers are you guys using on IOS? I’ve been using the FabFilter Pro-Q 2 plugin in Auria Pro and then through Audiobus 3. It doesn’t refresh too quick but it displays frequency info nice. It seems like there is a standalone Pro-Q 2 app now as well. I use the MC Studio bundle if I want it snappy.
I use the Trace 1u scope on my rack for spectrum. Ever since I fried an iPod I am reluctant to hook an ipad up for analysis. It isn’t very colourful, but it does help cue the ears to specific subtle details.
- Regarding the snares. I ended up using the “basic snare” yesterday that is bundled in the Audulus menu library and it sounds really good actually.
iPod couldn’t handle the intensity of the sounds you were throwing at it, huh?
It’s A Trap! - Sizz Cymbal eall123 mod v023
- removed the “g” gate label on the output (not sure why I had it there)
- added independent constant gate knobs to the mids and highs
- removed all the repeated knob labels
- added high pass filter constant knob to highs
- sync button now doesn’t affect the 1st, 6th, and 7th oscillators
- added dynamics to the decay and release (good idea futureaztec)
- turned volume down (whoops)
(Again, the sound still needs work. Every time I add a feature I have to start over. I’ll get it singing soon enough)
As I mentioned above (re: skinny vs. original recipe), I really like how Dinky’s Taiko was designed in that it seems to keep you locked in usable sounds, but also has a wide range of tones and textures. I was learning about precision adders, offsets and whatnot today so I reread the Taiko manual.
It’s a brief treatise but the takeaway I wanted to share is that it seems like what opens up the percussive timbral range are very boring simple logic functions made parametric.
Once you have a look at the manual you will see what I mean. I had no idea it had so many waveforms (24). But by doing that and giving you control over start and end, there is a sense in which it is locked, but it also makes it alluringly shapable. There are other details you will see, where it is it clear that some smart engineering went down.
- Also, instead of pocket vs. home edition, we may well think of ‘theoretical’ vs. ‘applied’ designs, or ‘research’ vs. ‘performance’ modules. Then it is no longer a size metaphor, but a use metaphor.
Yeah, agreed, the “Basic Snare” in the library sounds really good. The “uKick 909” and “Perc 2” are sweet as well.