Anyone here using the Nord Drum 3 for physical modeling (sequenced or played)?
@kilchhofer Where in the path do you place the d0? I have a small 3U dedicate setup for this purpose, and I added a meager 2hp Comb at some point, which is a very fast delay (more or less, but you know that already), but I’m unsure of where to place it in the path exciter > resonant filter.
The Serge EQ brings some extremely realistic overblowing elements in the patch. That’s true. But you mention tracking … are you sure the body of an instrument is to remain untracked? Since the body length changes, by ways of the mechanics, I assume it’s also that body that needs to track the pitch change, at least somewhat.
I’ve had some really good brass results via various methods. One that works rather nicely is sawtooth in granular environment, believe it or not.
Check this video out at around the 3min mark https://www.youtube.com/watch?v=SwXMGWVD094
I’m also considering using pitch-tracking samples as exciters.
usually i patch it like this:
the 2hp comb doesn’t have an open feedback path, so i don’t think it is suited for this arrangement.
i use the res eq or the c0 as body filter, this doesn’t track 1v/oct, i see it like a fixed room, sure you can experiment with it, feed it back into the path etc, but i like it to be “stiff”, it sounds convincing to me (if that’s a goal anyway). granular methods at the exciter stage are wonderful, madrona labs kaivo works like this and you can create great dynamic blowing or striking variations. i have no desire to really replicate convincing instruments with this, it’s just immense fun to play around with these building blocks, especially if you introduce vca’s and envelopes and forget any “rules”, feed back everything into everything. the filter in my drawing sets the register of the instrument, i would set the d0 to the fastest setting possible which would be an soprano piccolo or something anoyingly high and use the filter as a octave divider, i still don’t know why it works this way, but it does, the overblow effects also happen at this filter stage, the more i open the cutoff the higher the sound but it jumps in these very natural sounding steps, dunno why.
So filter is in the feedback path of the d0. Got it, thank you very much for sharing this concept.
I was thinking about this when you posted: making use of two small (2hp) mixers to replicate the effect of a matrix mixer, as per the discussion above. Especially since the Resontant EQ already has a 2in:1out (odd/even outputs notwithstanding) mixer onboard.
That would open up the Comb. I used to have this and a LPF in the path of the feedback of the ResEQ going back to itself. I added the Clouds to pitchshift the feedback output and then went downhill from there by adding sampling for exciter. I never thought of using the granular to process the exciter, I’ll give it a try.
Long story short, I bought a small 4hp breath controller module (BC from Pulplogic) and that got me thinking about using that to control a modular physical modeling instrument. Totally worth looking into if you’re into that kind of control. Totally blows (pun intended) any other method of controlling the VCAs.
For anyone else interested my 3U system consists of the following ingredients, which I mix and match as I see fit: LPF, Comb filter, resonant EQ, mixer, granular processor, digital oscillator, sampler, VCAs, breath controller.