#224

The design I’m working on will utilize an Average output for this purpose. The exact position of the control value is not important, especially if your use case is having something like a slider, or a knob, work as a bow. The average of the movement would be more useful as the position of the bow along the neck of the instrument.

#225

Haven’t spent any time with the bowing setup lately, as I was focused on the piano physical modeling setup for a gig. Clouds et al is a really great way to get scratchy, string bending sounds out of a single plucked grain. It makes sense if you think about the physics of what happens between the bow and the string.

If I recall correctly I got the best results using the random side of grains creation from Clouds, and then working in parallel with Size and Texture.

Next stop: Elements exciter output through Clouds before reaching the resonator.
That and seeing how the a-198 fits in there. :star_struck:

Any news on your end? (This is my favourite place in Lines, sorry if I over-bump it)

#226

Not much news on my end. I probably won’t be delving much deeper into the RoC patch until I get a chance to rebuild my case. I got ahold of an Intellijel 1u format ribbon controller that I’m gonna use for pitch control but I need to build an enclosure that can sit horizontally. I’m thinking of using a theremin antenna to send into the RoC detector since it gives you almost twice the travel distance available from a euro-module touch controller.

#227

That is actually a good idea, although I’m not sure how taxing moving your hand back and forth in the air, in lieu of a bow, would be.

#228

I’m also considering wavetables for the exciter wave. Seems that WaveEdit software is super easy to use, and getting a Disting mk4 would provide a wavetable oscillator at just 4hp. Could be a move towards the right direction.

Anybody with experience in using wavetables for physical modeling?

Yes, yes, I know these two are different synthesis methods, but I don’t see why they couldn’t be complementary. One of the nicest things about modular is that you can combine things like synthesis methods to reach your goal.

#229

Where do you see it fitting into the chain?

#230

Probably as a more accurate exciter for sustained notes. I’m unsure if exciting waves are available out there, but I’ll look into it. Got a Disting mk4 on the mail to use as a wavetable oscillator after checking out the Synthesis Technology WaveEdit software and falling in love with it immediately.

My thinking is grabbing 64 instances of an exciter or an actual instrument in various levels of velocity, and then have the wave parameter controlled by my breath controller. Then further process the signal in a similar way as you would in a physical modeling fashion (re: body, etc).

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#231

Anyone has some good ideas/examples to create trumpet like sounds?
Would love to hear some.

#232

I’ve been using a Qu-Bit Scanned for the past couple days and coming up with some otherworldly percussive type sounds. Feel like I’ve barely scratched the surface.

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#233

i already posted a link before in this thread about this so called Spectral Interpolation Synthesis
https://www.cs.cmu.edu/~music/sis/index.html

chet singer, the genious in physical modelling made a great ensemble in reaktor based on this synthesis technique and it consists of “…more than 1800 single-cycle waveforms from sixteen selected brass and woodwind instruments, captured at various pitches and amplitudes and arranged into sixteen wavetables.”

here’s the sounddemo from the ensemble, played with a breath controller.
(this is not my demo, it’s the demo uploaded by chet singer on the ensembles site:
https://www.native-instruments.com/en/reaktor-community/reaktor-user-library/entry/show/11879/)

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#234

Does anyone have tips for getting accurate v/oct using the Mungo d0 ? I can get some amazing tones via feedback, but they never seem to track correctly!

#235

You either just have to take the time to tune it properly or use an oscillator to clock the d0.

Tuning it can be tedious but honestly it never takes me more than a minute. Send it a quantized pitch source and tune up a C or whatever you like. Then send it the same note 2 octaves higher and adjust the d0’s CV attenuator until it’s right. Go back to your original note and adjust the d0 base time back to C, and recheck the tracking, rinse, repeat, just like calibrating any oscillator.

If it gets annoying, just throw a square wave from an oscillator into the clock input and you should be good to go!

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#236

Thanks for the info!
Do you typically track the clock to the same v/oct? Or leave it be?

#237

Oh, if you’re clocking the D0 from an external oscillator, you only need to worry about sending your v/oct to that oscillator and the D0 fill follow its pitch. Then you can use the CV inputs on the D0 for things like vibrato if you want. You’ll just want to make sure you have the slew setting in the left-of-noon range or you’ll get pretty glitchy results.

Also, the D0 can be a bit glitchy when dividing an incoming clock. It’s less of an issue at audio rate, but you might find it works best with the base time control set to noon.

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#238

On other news, I finally got my bowing case back in order. Some points from working with it a few hours during the weekend:

  • The Makenoise Mysteron makes for a really good modeling source of a string being bowed. The raspiness is there, and it’s rather unstable which helps a lot, both timbraly and in terms of pitch. The sound doesn’t stabilize, which makes it sound like a bow on a string would, with the timbre always transforming in the lower notes.
  • Element’s bowing exciter sounds like shit. The Flow option is closer.
  • I can’t recommend modules such as the ADDAC506 stochastic function generator enough. I own both this and the original TEIA design, which I’m using in the bowing case. It makes for a perfect AR envelope to shape the sound of the bowing as it’s never exactly the same twice. Honestly, it imparts a lot of realism, which is made obvious if you have consecutive hits on the note.
  • It’s damn near impossible to replicate a good violin/viola/cello body with resonators, filters, and delay units. IR would be a good solution, but any tips on how to best utilize simpler modules would be more than welcome. Nothing sounds good enough. Metallic is easy, wooden not so much.
  • Joysticks don’t make for good sources of bowing movement. Sliders are better.
  • A bare-bones rate-of-change module is coming soon. :kissing_heart:

Questions:

Again, any suggestions for replicating the wooden body of a stringed instrument, other than IRs?

I got a cheap 4ms SMR on a whim. I’m unsure whether it would make for a good replacement of the Serge Resonant EQ that I current have on the case. Any opinions? I don’t know what it is I’m missing, but something ain’t right.

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#239

I’m not that familiar with the ADDAC506. What about it allows the AR shape to be different each time–does it have a random component to it or something?

Personally I thought the body effect I’ve been getting from 3 Sisters and the D0 has sounded very wooden and close to realistic. There is some unnatural ringing to it though that I wonder how to solve. Maybe sending the final mix of that through an additional low pass or notch filter to tame that ringing would work. I’ll have to try it out this week.

Great news about the module coming! Can’t wait to see what you’ve helped to cook up for that!

Do you have any recordings you’ve made with the Mysteron? I’ve only heard a few demos with it and always thought it sounded a bit bland, but I’ve never seen anyone implement it in a PM patch.

#240

Both the ADDAC506 and the TEIA randomize the Attack and Decay portion of the Envelope with each hit. The ADDAC is a quad version of the TEIA, with some extra options. To the best of my knowledge the TEIA is no longer available, but the ADDAC one most certainly is. As stated, I own both as I really enjoyed the TEIA so I liked being able to have more of the same. You can set the minimum and maximum level for both the Attack and the Decay parameters, which means you define the range within which the randomization takes place for either. Each hit of your bow won’t have the exact same characteristics.

I hope this makes sense.

Let us know how that goes. I’m having a hard time believing the “woodiness” of my patches. Are you referring to a specific example of yours? Any recordings I could listen to? I’m probably doing it wrong. :shushing_face:

I’ve been reading around, and run across this beautiful thread on MW. I wasn’t aware of the Haible String Filter but I have to admit both the examples and the description have me hooked!

There doesn’t seem to be an official, or even a DIY, Eurorack version. I reached out to Random*Source to ask if that will be a possibility in the future. I intend to buy a couple of PCBs and give this a shot. It sounds really nice!

Thanks! It shouldn’t be far away now. I’ll see if I can post some IG videos when I receive a finalized unit. The module is based on the basic components we’ve discussed earlier, which makes is both useful as a RoC module while leaving it open to other patch uses.

Unfortunately I’m still ways away from recording. Here’s the original recording from regenbot that inspired me to pick one up. I was amazed by the timbre of the lower pitched melody (this is double track recording of Mysteron on both voices). He’s using a ribbon controller patched to the Pitch and Morph (or whatever it’s called) input.

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#241

The example I posted further up of the ROC violin patch is one where I really liked the sound of the body filter. I was using Sisters in its triple bandpass mode to filter the D0’s feedback loop.

I tried a few things out this morning before leaving for work. Wasn’t able to get a good result from placing an additional low pass or notch after the body filter, but I didn’t get enough time with it to rule that out.

What I did really like the sound of was sending the sine out from my oscillator to the Sisters FM input, heavily attenuated so it was barely noticeable, but it gets the body filter responding to the “string” and helped reduce the amount of unnatural ringing. And I guess that makes sense conceptually, since the vibrations of a string would be very slightly deforming an instrument body and effecting its modes.

What I want to try when I get home is, rather than using the sine out, sending the final mix of the patch through an envelope follower and a low pass gate, and sending that to the filter’s FM input. I keep finding that the messier I make a PM patch, letting all the parts sort of bleed into one another in slight amounts, the more natural things become.

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#242

What would your process be to replicate such an EQ curve inside a modular system?

cello_filter_plot
cello_filter_plot.jpg771×597 48.6 KB

#243

Maybe with the Rossum Morpheus filter?

I have never used it, but is seemed remarkably powerful.

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