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 Forum index » Clavia Nord Modular » G2 Patches - Completed » Synth
Additive Wavetable Complex Waveshaping Synthesizer
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Tim Kleinert



Joined: Mar 12, 2004
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PostPosted: Thu Mar 26, 2015 5:26 pm    Post subject: Additive Wavetable Complex Waveshaping Synthesizer
Subject description: User-definable additve wavetables, 7 complex waveshaping modes, anti-aliased high quality algorithm
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This algorithm provides synthesis methods previously unavailable to the G2, with unprecedented sound quality since there is no inharmonic aliasing (except if you want it).

Features:


*Master oscillator based on a user-definable additive wavetable comprised of 8 interpolated stages with 32 partials each.
Cool This dynamic waveform then goes on to be processed by....

*7 selectable complex wave-shaping modes:
-Symmetry modulation: Increasingly warps the waveform to one side. (Functional equivalent of the "bend" function in NI Massive and Xfer Serum.)
-Ringmodulation: Dynamic transition from flat to amplitude- over to full ringmodulation of the wavetable waveform with a "hidden" modulation oscillator which is tunable in integer multiples of the base frequency, up to 64x.
-Phase Modulation: The wavetable waveform dynamically phase-modulates a sine carrier tunable in integer multiples of the base frequency, up to 64x. (Factor 0 turns it into a 0Hz sine waveshaper.)
-Wavetable-shaping: The wavetable waveform acts as a complex "morphing waveshaper" dynamically modulated by a sine oscillator tunable in integer multiples of the base frequency, up to 64x.
-Windowed sync: (Not to be confused with "windowed sinc". Laughing) Conventional hardsync sweeping doesn't sound good when applied to additively generated waveforms due to the pronounced "buzz" caused by waveform discontinuities. This method smoothes those away by shaping the resulting hardsync waveform with a bell-shaped window. (Amplitude-modulation with a parallel cosine wave, technically speaking.) This is equivalent to the "window" feature in the Xfer Serum softsynth. The result is akin to true spectral shifting, albeit with an extra introduced harmonic.
-Windowed formant: My personal favourite, and AFAIK not available anywhere else. Technically equivalent to windowed sync, but the synchronized wavetable waveform doesn't track pitch. The spectral contents of the wavetable thus become shiftable formants. The result could be described as "formant-table" synthesis, albeit with an extra introduced harmonic.
-LFO1 WMD: Only half-serious feature thrown in because I had an unused input on the waveshaping switching matrix left."WMD" stands either for "waveshape modulation" or "weapon of mass destruction"Laughing both of which are accurate descriptions. The wavetable waveform again acts as a complex "morphing waveshaper", but this time is driven by the lowly LFO1 and also "windowed" like above to at least smooth things out a bit. If you whip LFO1 into the audio-range (unipolar sawtooth waveform works best for "smooth-ish" results), you'll get all kinds of clangorous noises. Keep in mind that the LFO clocks at control rate, introducing (harmonic) aliasing. But if you're into these kinds of sounds, you'll probably like that. Laughing (This mode can actually sound way cooler that I had thought.)

*Sub-oscillator:
Rather than being simply a square or sine waveform, this is an identical copy of the original waveshape. And rather than being a simple "one octave down" affair, it uses a fractional divide-down circuit and thus is freely tuneable below the master oscillator frequency. Since you'll either want to use this tuned in coarse semitones for intervals, or finely for unison-type fattening, one single bidirectional knob provides both functionalities. The sub-oscillator as well as the master are also both pan-able, opening up the stereo field without having to resort to FX.

*User-adjustable anti-aliasing:
All the aforementioned processes use bandlimited resampling and are free of inharmonic aliasing (except the WMD mode Laughing). Those who like inharmonic aliasing can simply turn this off and enjoy the "birdies" singing in the upper ranges. Conversely, if you hear "birdies" on rare occasions where the default anti-aliasing setting isn't sufficient (eg. fierce waveshaping), you can tighten it up accordingly in order to deal with them.

*Modulation sources:
Two modulation envelopes and two LFOs, which are all simultaneously available for osc pitch, wavetable position and waveshaping amount destinations. LFO1 is a free-running LfoA type (with the random shapes), whereas LFO2 is a LfoB which can optionally be retriggered by keyboard gate. I hate seeing unused inputs, so ENV1 is also hardwired to LFO1 rate modulation, and ENV2 to LFO2 respectively. Finally, Osc pitch also has a dedicated lowly sine vibrato LFO so you don't have to waste a "real" LFO for that (or resort to the inconvenient patch vibrato functionality).

*Stereo pingpong delay:
With individual times and HP and LP filters. There wasn't enough DSP left for a reverb module, but I've come to hate the sound of that thing anyway, so all is good (for me Laughing).


I originally wanted to delve into the intricacies that make all of this work, but there is a ton of groundbreaking stuff going on in there, and all of it's very abstract low-level stuff and probably not very interesting, so for the sake of brevity and "tl;dr" I'll skip it. There are two things I'd like to mention though:

1) I found a way to work around that old infamous "delay line bug" which causes crackles and glitches. In preparation of this algorithm I had to do lengthy experiments with the modulated delay lines (for 24bit precision addressing of individual samples), where I had the hunch that the artifacts were caused by the fractional sample interpolation window not "wrapping around" within the memory array allocated to that module, grabbing samples from another one and causing glitches. By that reasoning, placing a "dummy" delay module of equivalent size and filled with identical audio material right before the module being used should solve the problem. This is a bold assumption to make, and I might be completely wrong, but... IT WORKS! Shocked The crackles vanish. Of course, this is a rather wasteful solution, but I had to implement it in this algorithm to preserve sound quality. So if you see seemingly nonsensical delay modules with unused outputs somewhere in the patch, they are there for a reason. (Other imperfections in the mod delay modules remain, but they are negligible for most purposes.)

2) This algorithm is a 100% low-level design, using G2 modules as weird representations of programming instructions. Messing around with it will not only most probably sound shitty, it can actually make the patch crash irretrievably, forcing you to reload it. (It even bricked one of my G2Xs once, but that's another story.)


Control panel description:

Page A1:
MST-OSC Semi, Fine, Pitch M:
Master oscillator tuning and vibrato amount.
VIBRATO Rate: as it says.
MST-OSC Env1, Env2, Lfo1, Lfo2: Master oscillator pitch modulation amounts by the 4 mod sources.
Page A2:
SUB-OSC Crs/Fin:
Bidirectional tuning control of the suboscillator (a copy of the master oscillator), counter-clockwise for semitones, clockwise for fine detuning.
SUB-OSC Level, Pan: Sub-oscillator level and panning.
MST-OSC Pan: Master oscillator panning.
VIBRATO Mode: Poly or Mono.

Page B1:
LFO1, all parameters;
Env1 is hardwired to rate modulation.
Page B2:
LFO2, all parameters;
Env2 is hardwired to rate modulation. The "KBG" button toggles keyboard retriggering.

Page C1-C3:
All parameters for the two modulation envelopes, and the amplitude envelope.

Page D1:
W-TABLE Offset:
Base position within the wavetable, onto which any modulations (see below) are added.
W-TABLE Clip: Optional clipping of the wavetable modulation range (eg. when a wavetable contains less than the 8 available stages and you don't want to sweep into silence). It's also important to know that the wavetable "wraps around" at the end, meaning that the last waveform crossfades with the first one. This can be a cool feature as it allows you to smoothly move through the wavetable in one direction (using a sawtooth LFO at full modulation range), but can also be undesirable in other situations. The default clip setting of 12.5 prevents this wrap-around.
W-TABLE XfadeM: This parameter is actually only meaningful at zero or full amount, but there wasn't any DSP left to add an on/off switch.Laughing At full level the individual waveform stages smoothly crossfade into each other, at zero they jump discretely. I placed it on the panel because the zero setting is handy when designing wavetables, as it allows you to audition each stage individually.
W-Table LoadLvl: I briefly have to delve into the low-level stuff here. There is an independent offline waveform-rendering circuit which converts the additive frequency-domain representation of the wavetable stages into time-domain waveforms, and stores these in clocked-delay modules acting as RAM-arrays. If you use many partials at full level, the resulting waveform can clip. This "load level" attenuates the rendering process. If you experience crackles in your sound, you are probably overloading things -just back it down until the crackles vanish. Also, you'll notice a considerable time lag when tweaking this parameter (or editing the additive waveforms). This is due to the fact that the offline rendering circuit (running at control-rate to save DSP) renders each individual waveform one after another, partial by partial. The rendering cycle requires about 2.8 seconds to complete. It therefore obviously also affects changing patch variations, which thus require the same amount of time in order to sound as intended.
W-TABLE Env1, Env2, Lfo1, Lfo2: Wavetable position modulation by the 4 modulation sources.
Page D2:
X-SHAPE Offset: Base X-modulation amount, onto which any modulations (see below) are added.
X-SHAPE Source: Selects one of the 7 complex waveshaping modes described above. "Bypass" does exactly what it says. Laughing
MOD-OSC Ratio: Tunes the "hidden" modulation oscillator (described in the features paragraph above) in integer multiples of the base frequency. Negative values have no effect.
VOICE OutLevl: Output level of an individual voice. Since the different waveshaping processes can produce considerable differences in amplitude, it made sense to place this control here.
X-SHAPE Env1, Env2, Lfo1, Lfo2: Waveshaping amount modulation by the 4 modulation sources.
Page D3:
B-LIMIT BrkPnt, R.Gain, On/off:
Control of the bandlimiting (anti-aliasing) process. "BrkPnt" defines the pitch (not necessarily the key) above which bandlimiting becomes active. "R.Gain" defines the bandlimiting slope as you go further up in pitch. "On/Off" takes it out of the signal path. The default settings in the init patch (variation 8 ) work well under most conditions. But you can tweak this in order to preserve as much top-end as possible, or prevent "birdies" (aliases) if they occur nevertheless. Programming tip: Zero any semitone transposition of the master oscillator, play the keyboard upwards until you hear the first "birdies", dial in between a fifth and an octave lower into the "BrkPnt" and adjust the slope ("R.Gain") until they disappear. (BTW, the "dB" display is nonsensical here, it's just the way the LevelScaler module displays its slope.)
Page E1:
Buss pad switches... and a shameless plug. Laughing
Page E2:
Main ping-pong delay parameters
Page E3:
Additional ping-pong delay parameters

The control-sequencers containing the partial levels of the 8 wavetable stages obviously don't fit on the panel. They are however strategically placed in the first two columns of the FX section. By entering "patch" mode and scrolling down into the FX section, the wavetables can thus be directly edited from the panel. I was actually surprised how well this works, it's actually quite user-friendly. (Tip: assign the mod-wheel to wavetable position when you edit the waveforms, so you can conveniently move back and forth while tweaking.) The 8 additive wavetable stages are labeled A to H, each comprised of two control-sequencers (further labeled by 1-16 or 7-32 for the partials).

All variations are populated with quick'n'dirty stuff, as I've barely scratched the surface of what this patch can do. The first 7 variations each demonstrate one of the waveshaping modes. Variation 8 is a default init setting.

I made a demo mp3 which demonstrates the 7 variations in sequence:
1- "Windowed Formant" mode with vocal-like formants; Modwheel morphs things around.
2- "Symmetry" mode with arbitrary individual partials; an arpeggiator-type sound. Modwheel morphs it into clangorous zone.
3- "Waveshape" mode; an ethereal semi-inharmonic atmosphere; Modwheel morphs it into a weird synth sound.
4- "Phase-Modulation" mode; an aggressive lead-type sound; Modwheel morphs it into a glassy warm pad.
5- "Windowed Sync"; uses the same wavetable as variation 1; Modwheel morphs it into a wide ethereal pad.
6- "Ring Modulation" mode; a wavetable comprised of rising partials in prime ratios, amplitude-/ringmodulated with partial No.32. Modwheel takes the modulator out.
7- "Lfo1WMD" mode; a spooky pad morphing via modwheel into... weird stuff.


Final note: This algorithm totally maxes out the G2, with each voice and the control-section in the FX area using close to 100% memory and cycles -resulting in 7 voices for expanded G2s. All interslot busses are used too. So, although this technically is a patch, I present it as a performance, since it is best used standalone.

Did I forget anything? Hope not.

Enjoy!

cheers,
-t


WTabXShapeSyn_TK.prf2
 Description:
User-definable additve wavetables, 7 complex waveshaping modes, anti-aliased high quality algorithm.

Download
 Filename:  WTabXShapeSyn_TK.prf2
 Filesize:  41.25 KB
 Downloaded:  4234 Time(s)


WTableXShapeSyn_TK Demo.mp3
 Description:
Audio demo of the Additive Wavetable Complex Waveshaping Synthesizer, going through the 7 variations.

Download
 Filename:  WTableXShapeSyn_TK Demo.mp3
 Filesize:  8.02 MB
 Downloaded:  1282 Time(s)


Last edited by Tim Kleinert on Sat Jan 23, 2016 5:57 pm; edited 7 times in total
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xav



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PostPosted: Thu Mar 26, 2015 5:47 pm    Post subject: Reply with quote  Mark this post and the followings unread

Fantastic! spitzenmäßig! Tremendo! Sensationnel! 華麗的
Thank you very much Tim... and tell us when you build your G3!
All the best
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PostPosted: Fri Mar 27, 2015 7:21 am    Post subject: Reply with quote  Mark this post and the followings unread

Great work, Tim! I'd love to know more about the journey you took to arrive at this level of proficiency with the G2. The fact that you've done all this at such a low level is impressive and fascinating. And, as xav said, let us know when you've settled in with your next challenge! Laughing
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PostPosted: Fri Mar 27, 2015 8:45 am    Post subject: Reply with quote  Mark this post and the followings unread

I don't own a G2 nor do I know very much about it but that demo sounds amazing! well-done
(Those are just the sounds I'm looking for Shocked )

it might end up in one of my electro-music.com radio mixes (if you don't mind).

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Tim Kleinert



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PostPosted: Fri Mar 27, 2015 9:38 am    Post subject: Reply with quote  Mark this post and the followings unread

PHOBoS wrote:
it might end up in one of my electro-music.com radio mixes (if you don't mind).

Absolutely not. I'd feel flattered.

Thanks to everybody for their kind remarks of appreciation.

@Cebec: I have a rusty old background in assembler programming, which is as low-level as it gets. Translating this kind of stuff into G2 modules is where it really starts to become weird Laughing.
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PostPosted: Fri Mar 27, 2015 9:40 am    Post subject: Reply with quote  Mark this post and the followings unread

Tim Kleinert wrote:
PHOBoS wrote:
it might end up in one of my electro-music.com radio mixes (if you don't mind).

Absolutely not. I'd feel flattered.

Thanks to everybody for their kind remarks of appreciation.

@Cebec: I have a rusty old background in assembler programming, which is as low-level as it gets. Translating this kind of stuff into G2 modules is where it really starts to become weird Laughing.


That explains a lot. Laughing Yeah, I can imagine!

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PostPosted: Fri Mar 27, 2015 5:33 pm    Post subject: Reply with quote  Mark this post and the followings unread

wow! Excellent patching here Tim Exclamation well done salut well-done

I have been in G2 bliss for the last couple of hours while exploring this patch... Ohm...

thanks a million for sharing your work Exclamation

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PostPosted: Fri Mar 27, 2015 7:05 pm    Post subject: Reply with quote  Mark this post and the followings unread

varice wrote:
I have been in G2 bliss for the last couple of hours while exploring this patch... Ohm...

I would love to hear some of that since I can't play with it myself Wink

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PostPosted: Sat Mar 28, 2015 6:32 am    Post subject: Reply with quote  Mark this post and the followings unread

wow! wow! wow!

This is going to make my day...many many thanks Tim for sharing your knowledge and works..I'll probably never understand this level of patching, but it is GREAT to explore your patches nonetheless!

ps: can we safely work with the patch mutator or is there a chance to mess up the patch?
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PostPosted: Sat Mar 28, 2015 8:18 am    Post subject: Reply with quote  Mark this post and the followings unread

redmar wrote:
ps: can we safely work with the patch mutator or is there a chance to mess up the patch?

I have zero experience with the mutator, as I've literally never used it once. From my understanding though of what it does, I'd wager that the probability of messing up the patch (potentially even crashing it) is 100%. Laughing This isn't a "conventional" signal flow with oscillators, filters and whatnot. There is one lonely filter in there (for bandlimiting) and two 0Hz PhaseOscs, which however only serve as sine functions.
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PostPosted: Sat Mar 28, 2015 9:54 am    Post subject: Reply with quote  Mark this post and the followings unread

It should be possible to use the patch mutator with this after marking all of the no-tweak modules for exclusion.. I have done so and will try that out after I reread the thread on unbricking :')
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Tim Kleinert



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PostPosted: Sat Mar 28, 2015 10:07 am    Post subject: Reply with quote  Mark this post and the followings unread

jamos wrote:
It should be possible to use the patch mutator with this after marking all of the no-tweak modules for exclusion.. I have done so and will try that out after I reread the thread on unbricking :')


Ah, I didn't know that you could lock modules -that's great. Actually, if you lock everything except the control sequencers containing the wavetables, that might be a cool way to come up with new ones without having to dial in stuff from scratch (which is very rewarding but also time-consuming).

The patch itself can crash if you fiddle around with some of the accumulator circuits, which will veer off course into infinity (+/-256 "Clavia units") with no way of rescuing them back -except by reloading the patch.

The bricking of the G2 itself occurred because in a previous incarnation of the patch I had totally maxed out the patch memory with commentary "name"-modules which outlined the workings of the individual sub-circuits. If you reload a memory-maxed patch, the G2 hangs (at least mine did), and has to be turned off (yes, this is a bug).

The real problem is that the G2 always loads the last patch used on start-up, which in my case was the patch that caused it to hang in the first place -rendering the unit basically bricked. I had to enter diagnostic mode and erase the patch memory.
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PostPosted: Sat Mar 28, 2015 10:24 am    Post subject: Reply with quote  Mark this post and the followings unread

Tim Kleinert wrote:
The real problem is that the G2 always loads the last patch used on start-up, which in my case was the patch that caused it to hang in the first place -rendering the unit basically bricked. I had to enter diagnostic mode and erase the patch memory.


For engine users ... at start-up it loads the first performance in the first bank .. so as long as you do not have the patch there nothing can go wrong.

This differs from what the keyboard model does at start-up.

Also I've no idea how you could enter diagnostic mode on the engine ...

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also .. could someone please turn down the thermostat a bit.
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PostPosted: Sat Mar 28, 2015 1:02 pm    Post subject: Reply with quote  Mark this post and the followings unread

Tim, you're right, editing those waveforms is tedious but rewarding. Any thoughts on a process for doing so? Obviously they all sound like bad organs when not modulating, simply filling them with random data does not yield much in the way of contrast... could spend all day at this!

BTW the mutator works well with the waveforms.
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PostPosted: Sat Mar 28, 2015 3:27 pm    Post subject: Reply with quote  Mark this post and the followings unread

jamos wrote:
Tim, you're right, editing those waveforms is tedious but rewarding. Any thoughts on a process for doing so?


I haven't had that much time yet to tweak around with this patch myself actually Laughing, but up to now I've sort of followed 3 different approaches. The first is to get ideas from naturally existing spectra. The vowel-y wavetable of variation 1 and 5 was inspired by graphs of vowel formants, which I tried to roughly approximate (probably could be done way better). The second is to follow more conceptual ideas. Eg. the stages of wavetable in variation 6 are prime number partial ratios in rising bases. Prime ratios are the hardest to hear as a definite pitch. My idea was to dynamically ringmodulate them in order to bring in and out more harmonics that make them more and less defined -all while the wavetable modulation moves through them separately as well. And the third is to serendipitously draw partials smoothly moving around in different ways. The trick to make this work is not to overdo things -only move around single partials and not wide peaks. But as I said -I'm still in a learning stage myself.

Quote:
Obviously they all sound like bad organs when not modulating

Absolutely, and that's why I always assign the modwheel to the wavetable position, so I can hear the transitions while editing. The ear gets bored very quickly, but on the other hand fooled very quickly. I originally was afraid that 8 stages wouldn't be enough to make convincingly morphing wavetables, but there simply wasn't enough DSP for more. (The prospect of having to draw eg. 16 stages wasn't too enticing either. Laughing) But I've come to notice that if you take enough care to make the transitions relate to each other well enough, the stages are undetectable.

Quote:
simply filling them with random data does not yield much in the way of contrast... could spend all day at this!

Another thing to keep in mind is that natural oscillations, due to high-frequency damping, always have a roll-off of the partials. So do analog waveforms like sawtooth etc.. The great thing about additive synthesis is that you can make fiercely pronounced high harmonics and thus get away from those "standard" timbres. But it can also get over-tiring to the ears quickly. Subtlety is the key. I originally had intended to implement a user-adjustable partial roll-off functionality into the waveform-rendering circuit. But ultimately I was running out of DSP and it was one of many features I had to ditch.

Also, it might be important to know that the scaling of the partial level controls isn't linear. I specifically put an exponential shaper in there to provide more resolution for lower levels. As mentioned -subtlety is the key.

(If you want linear scaling, hunt down the expo shaper in the uppermost right dark-blue cluster of modules in the FX area (the offline waveform rendering circuit) and switch it off.)

cheers,
t
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PostPosted: Mon Mar 30, 2015 8:43 pm    Post subject: Reply with quote  Mark this post and the followings unread

PHOBoS wrote:
varice wrote:
I have been in G2 bliss for the last couple of hours while exploring this patch... Ohm...

I would love to hear some of that since I can't play with it myself Wink

I’m sorry PHOBoS for the late reply (I hate when the reality of life gets in the way of my more pleasurable pursuits).

But, I don’t think I could do a much of better demo of Tim’s patch than what he has already posted here. Also, if I were to post my own music track using this patch, I would prefer to use my own tweaks, but I would need learn how to load something unique and musically useful into the wavetable.

Anyway, IMHO this fantastic patch can be used as is for great pads and even drones. For example, using variation 6 and playing a sustained chord produces an excellent and very dreamy sounding drone as the patch slowly cycles through the partials… which is now playing here as I type this reply... Cool

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PostPosted: Tue Mar 31, 2015 7:24 am    Post subject: Reply with quote  Mark this post and the followings unread

that's ok varice, looking forward to hear what you can do with it Very Happy

In the meantime Blue Hell was so kind of playing the patch, somehow controlled by the chatroom,
and stream it so I could listen and record. which to me sounded like:

drifting on a cosmic river
alien voices from afar
timelords of the 4th dimension
the rebirth of a dying star

bells of light, refracting photons
mirrors made of mercury
soundwaves trapped inside a diamond
fractalized geometry


so now I have ± 6.5 hours of recordings which I'll probably use in some music. Razz

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PostPosted: Tue Mar 31, 2015 7:27 am    Post subject: Reply with quote  Mark this post and the followings unread

Was doing some reprogramming on my own synth anyway during that time .. so that thing was not properly runnable for a while ... and in the mean time I had some lovely sounds too :-)

Alos was trying to understand how Tim's patch works .. got some of the details ... but its quite a monster ...

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Jan
also .. could someone please turn down the thermostat a bit.
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Tim Kleinert



Joined: Mar 12, 2004
Posts: 1147
Location: Zürich, Switzerland
Audio files: 7
G2 patch files: 236

PostPosted: Tue Mar 31, 2015 1:29 pm    Post subject: Reply with quote  Mark this post and the followings unread

Blue Hell wrote:
but its quite a monster ...

transformer
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Electromagnetic Wave



Joined: Apr 28, 2013
Posts: 279
Location: Kebek
G2 patch files: 38

PostPosted: Tue Mar 31, 2015 4:51 pm    Post subject: Reply with quote  Mark this post and the followings unread

Quote:
The control-sequencers containing the partial levels of the 8 wavetable stages obviously don't fit on the panel. They are however strategically placed in the first two columns of the FX section. By entering "patch" mode and scrolling down into the FX section, the wavetables can thus be directly edited from the panel.


I use a workaround for this. I just assign the 1st step from each sequencer to the 'parameter page'. Like this, I need 2 pages to fit 16 sequencers.

The shorcut :

1. Press : Copy + the module sequencer you want to access (from the parameter pages)
2. Press Patch.

After that, you can access any sequencer quickly. If you just need to edit 'E 1-16' or F 17-32".

I edited the parameter page in the patch to understand what I mean.


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Lfohead



Joined: Jul 29, 2009
Posts: 289
Location: Sweden
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PostPosted: Wed Apr 01, 2015 12:15 am    Post subject: Reply with quote  Mark this post and the followings unread

Sad news, but also positive in the sense that you want to expand your knowledge and push the limits within other platforms whatever platform that might be..

All i can say is Thank you very much! for all the contributions and energy put to help many of us over the years..

I also see this as a opportunity to Thank everyone running this wonderful site and all of it members for the contributions also..
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PHOBoS



Joined: Jan 14, 2010
Posts: 5110
Location: Moon Base
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PostPosted: Wed Apr 01, 2015 8:12 am    Post subject: Reply with quote  Mark this post and the followings unread

PHOBoS wrote:
so now I have ± 6.5 hours of recordings which I'll probably use in some music. Razz

I already used a part for Behind the Curtain.

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Blue Hell
Site Admin


Joined: Apr 03, 2004
Posts: 23581
Location: The Netherlands, Enschede
Audio files: 266
G2 patch files: 320

PostPosted: Wed Apr 01, 2015 11:23 am    Post subject: Reply with quote  Mark this post and the followings unread

PHOBoS wrote:
PHOBoS wrote:
so now I have ± 6.5 hours of recordings which I'll probably use in some music. Razz

I already used a part for Behind the Curtain.


Ah, thats why I thought I recognized sounds Laughing

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Jan
also .. could someone please turn down the thermostat a bit.
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jamos



Joined: Jun 01, 2004
Posts: 503
Location: Eugene, Oregon, USA
Audio files: 4
G2 patch files: 39

PostPosted: Wed Apr 01, 2015 5:39 pm    Post subject: Minor optimization Reply with quote  Mark this post and the followings unread

I came across a minor twaek that opens up a few more cycles in the Voice section. The LFO just below the MST-OSC, about halfway down the page in the first column, can safely be changed to an LFO C rather than LFO B. I used the additional cycles to change LFO2 to an LFO Shape A.

File this under For What It's Worth.
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Tim Kleinert



Joined: Mar 12, 2004
Posts: 1147
Location: Zürich, Switzerland
Audio files: 7
G2 patch files: 236

PostPosted: Wed Apr 01, 2015 6:05 pm    Post subject: Re: Minor optimization Reply with quote  Mark this post and the followings unread

jamos wrote:
File this under For What It's Worth.

No way -file this under "Tim is an idiot."! doh Laughing

Funny how, with all the Houdini-style optimization wrenching , I could oversee this! Embarassed I originally used a LfoB module because I wanted to implement optional osc-retriggering on note-ons. That idea was quickly filed under "less important" as patching progressed and DSP load became a quite, uh, "sobering experience" Laughing and many features had to be ditched unfortunately. But then I simply didn't "see" this anymore as I constantly scoured through the patch, on the hunt of any saveable pittance of DSP. As stated before, the patch was on the verge of being shelved many times because I was always running out of DSP. That I didn't see this.... doh Thanks for keeping me on my toes. Laughing
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