Anyone want to help implement these types of oscillator sync in Audulus?
Interesting article. I think we have hard sync pretty well covered, although the references to methods that avoid aliasing are worth looking into. I suspect that they won’t prove practical in Audulus. The various soft sync methods also sound interesting. I know you just did a reversing model.
Yeah here’s the demo for that version - I’ll upload it as an individual module when it’s more ready
Soft Sync Demo.audulus (899.8 KB)
I happen to have just started working on a version of Hordijk’s Sync Oscillator…
I’m intrigued by the masking technique he describes.
I started digging up some Hordijk links from the old Nord Modular site: History and theory of oscillator sync
Just wondering but do you have an affinity to Hordijk that goes beyond just examining one person’s genius? Where/how/why did you get so deep into his stuff?
Of course you have!
Ha, good question! I’m not really sure why, out of all the possibilities, I connected with his stuff as I started to explore the world of modular. I think it has something to do with the particular quality of his sounds and his way of focussing in on the core elements of sound generation and modulation. I like the way he carefully thinks through possibilities, always taking things a step further with an interesting twist, and has distilled a system with collection of modules that are carefully designed to complement each other.
The availability of some great video demos, first the Mallorca series, and now the NOVARS tutorials, along with the websites providing schematics and background info on his stuff have made it a great starting point for me to dive into learning about modular synthesis, slowly working my way though his system module by module.
Other than that, I also lived in The Hague for a number of years after studying composition there, and am quite familiar with the world of composers such as Stockhausen and Boerman that he often refers to, so perhaps that also plays a role.
@RudigerMeyer’s articles on Hordijk opened everything up for me because the subject matter is so deeply focused on the most basic elements in synthesis patching. I think that the minimalism is crucial for grounding a blooming medium by applying discipline to abundance. This is the sort of work that saves the seeds at harvest and makes future innovation widen out through a calm meditative inquiry into competent structures. I am presently reading “Matter and Memory” by Henri Bergson which was published in 1912. I hit a jewel idea this afternoon where Bergson mentions that since matter is perceived, in that the brain that perceives it is itself material, it is the body that is the sturdier locus of transfer. This is because feelings are present as a center for action. Now this is quite abstract, but once you start to lay everything out on the table for a number of years, so to speak, you become interested in the subtle work of disentangling the habituated consciousness from its “hardware,” so that the numerous additive mental practices can be reconsidered and applied in novel combinations that lead to ‘various possibilities’. At the end of the day I think it all pans out in the rave tent at 4am when everyone is standing around with their arms folded as they hear the mathematical formulas subtly unfolding out of the sound system amidst the blinking lights.