Shbobo Shnth patches and appreciation


#1

hey not sure if this is the right category (maybe tech?)
I’ll put some patches and stuff up in just a bit

here is a repost of something I put together a while back to give an overview of the shnth

“- in one sense the shnth is like a complete modular synth with 20+ oscillators, 12 filters, 16 lfo/envelopes, 8 n-length sequencers, 8 slews, 12 granular sounds, 16 delay & karplus effects, 8 sample and holds, 8 random generators, 8 pulse divider/staircase generator with a variable length, 8 variable duty cycle pulse wave, unlimited nuts for circuit bending, waveshaping, comparators,etc. plus peter is still developing more opcodes, including some really unique ones, so this is just whats in the initial release. so just by its nature its designed to be flexible. - 2nd, the way peter designed all these operators to work together was pretty ingenius in that any thing in shlisp can be plugged into any other thing in shlisp including of course itself, i.e. there is no distinction between audio, control signals, gestures,etc they are all just ‘data’. plus everything in shLISP effects the sound in some way, there are no other programming structures to setup or learn. alot of the power of shLISP come from the simple idea of recursion, i.e. plugging an expression into the parameter of another expression then plugging the output of that into the input of another expression, and so on and so forth. so basically everything can be modulated by everything else…again, just like in a modular synth. - 3rd, there are several ways to pre-compose patches if you desire - there are the sequencers which can store preset parameter values and switch them at the press of a button (sort of like the serge SQP); there is the ability to trigger sounds or switch them on and off, using buttons though actually any gesture or other opcode can do this…you can patch the mic to fire off an envelope which makes a sound audible when the mic input rises above a certain threshold for example. and then a third way to compose is to arrange various situations within a txt and step through them in the order you desire. they can be very subtle variations on the same patch, maybe with diff’t parameter values or changing the filter type,etc or they can be completely different sounds in the order you want to perform them…or you can jump around them randomly with a sample and hold for example. 4th, this is all wrapped in a custom-designed touch interface (4 bars, 9 buttons, 2 touch antennas, 1 mic) which can all be used to control any aspect of the synth. again i think this is the critical thing about the shnth - because there is no distinction between ‘audio’, ‘control signals’ and ‘gestures’ any of these things can be substituted for anything else in any expression, as many layers deep as you want. so you can squish the filter cutoff and Q while speaking into the mic which is being AM’d by a triangle wave which is being modulated by the antennas you’re touching…and then you can take that whole thing and make it determine the tuning of your granular oscillator which is having its rate and grain envelope being determined by bar presses, etc. i can’t stress enough how powerful the simple idea of recursion is when implemented in a ‘modular synth’ paradigm like this.”

here is a brief idea about tuning the shnth

“will definitely do a tuning one. just to try and answer your question here briefly, with the Shnth the opcode ‘srate’ sets the fundamental frequency (which is 4 octaves below the actual sampling rate). if you want to do tonal stuff then its best to specify the srate using 16-bit numbers, then you can dial it in exactly. meng qi made a very helpful srate calculator which gives the ‘short’ (16-bit number) for each corresponding note on a standard keyboard, its available on the shbobo forum. so basically the nume and deno of an oscillator specify its pitch relationship to that fundamental based on the just intonation tuning system…so for example a horn with a nume of 96 and a deno of 64 will be a perfect 5th above the fundamental (ie 3:2 ratio), one with a nume of 80 and a deno of 64 will be a major 3rd above it (5:4 ratio), etc. there’s a couple of really good websites on just intonation online, i can send you the links if you like. its gets really interesting when you get into the larger prime limits like 11 or 13, then you can explore these really hairy microtonal scales. i’ll try to explain all this better in a video and associated forum post but hopefully this will help a bit until then.”

a blog post by peter (ciat lonbarde, shbobo) that goes into a lot of detail about tuning all his instruments

the first three videos in the tutorial series covering shnth concepts (not sure if anymore are happening)


here is a video example of the ability to jump/bend through patches live allowing for instant reprogramming of the shnth on the fly with no host computer (unless you want one)

this one is a shnth (with the preloaded patch) playing through a ciat lonbarde plumbutter

some sounds coming from a sort of emulation of an analogue instrument (quantussy section of the cocoquantus) being used in a couple different ways

this one is for those people who are still with us, PB himself talking about a standalone application that is available for the shnth (there are also more coming)

and here is the actual press http://createdigitalmusic.com/2013/08/wacky-wooden-shnth-makes-eerie-sounds-colors-outside-the-lines-documentary/

since this came out I found out I can use the shnth as a reprogrammable controller as well as sounding device


#2

i would love to see some new patches of course, i love the SH bobo


#3

These are my basic patches
I usually start from these as they give a large tuning range and are easily understandable
these are the first patches I let people try usually to get a basic idea of the shnth
I’ve tried to lay these out in a visually understandable way

;Horn
{(jump (tar 1 ))(srate (short 8 51 ))
(pan
(horn
(togo (major )102 48 54 60 64 72 80 90 )
(togob (minor )13 48 24 96 12 (arab 192 ))
(bar )
)
(bar ))(pan
(hornb
(togoc (majorb )-75 60 64 72 80 90 48 54 )
(togod (minorb )13 48 24 96 12 (arab 192 ))
(barb )
)
(barb ))
(pan
(hornc
(togoe (majorc )-5 72 80 90 48 54 60 64 )
(togof (minorc )13 48 24 96 12 (arab 192 ))
(barc )
)
(barc ))(pan
(hornd
(togog (majord )-5 90 48 54 60 64 72 80 )
(togoh (minord )13 48 24 96 12 (arab 192 ))
(bard )
)
(bard ))
}

;SAw
{(jump (tar 1 ))(srate (short 8 51 ))
(pan
(saw
(togo (major )102 48 54 60 64 72 80 90 )
(togob (minor )13 48 24 96 12 (arab 192 ))
(bar ))
(bar ))(pan
(sawb
(togoc (majorb )-75 60 64 72 80 90 48 54 )
(togod (minorb )13 48 24 96 12 (arab 192 ))
(barb ))
(barb ))
(pan
(sawc
(togoe (majorc )-5 72 80 90 48 54 60 64 )
(togof (minorc )13 48 24 96 12 (arab 192 ))
(barc ))
(barc ))(pan
(sawd
(togog (majord )-5 90 48 54 60 64 72 80 )
(togoh (minord )13 48 24 96 12 (arab 192 ))
(bard ))
(bard ))
}


#4

this is one of my favorite patches I’ve spent a lot of time figuring out the simplest process to allow this structure (I used to use a lot of squares and toggles)

as you might notice I’m using the same tuning [togo]s from the first patches

each of the four voices is being modulated in some way by just about every opcode

I like the [saw] version better than [horn] so that is what is here

;steamchaser
{(jump (tar 1 ))(srate (short 9 51 ))
(slavec (saw )(togoe )(togob ))(slaved (sawc )(togoc )(togof ))(slavee (sawd )(togo )(togoc ))(slavef (sawb )(togog )(togof ))
(slew
(slavee )(togoc )(togof )(slewd ))(slewc
(slavef )(togog )(togoh )(slew ))(slewb
(slavec )(togob )(togoe )(slewc ))(slewd
(slaved )(togo )(togod )(slewb ))
(togo (major )102 48 54 60 64 72 80 90 )(togob (minor )13 48 24 96 12 (arab 192 ))
(togoe (majorc )-5 72 80 36 90 48 54 60 64 )(togof (minorc )13 48 24 96 12 (arab 192 ))
(togoc (majorb )-75 60 64 72 30 80 90 48 54 )(togod (minorb )13 48 24 96 12 (arab 192 ))
(togog (majord )-5 90 24 48 54 60 64 72 80 )(togoh (minord )13 48 24 96 12 (arab 192 ))
(left (mul (pan
(saw (togo )(togob )
)
(arab (add (slewb )(slewc ))))(slew ))(mul (pan
(sawc (togoe )(togof )
)
(add (slewb )(arab (slewd ))))(slewc )))(right (mul (pan
(sawb (togoc )(togod )
)
(arab (add (slewd )(slew ))))(slewb ))(mul (pan
(sawd (togog )(togoh )
)
(add (slew )(arab (slewc ))))(slewd )))
}

here is a video wherein the audio output was plugged directly into the camera so I couldn’t hear it as I was recording


Mobenthy/Ciat-Lonbarde (synthmall) thread
#5

this is a wonderful sounding filter patch
the controls are the 4 bars and a couple have to be pressed at once in order to make some sound
it can make sound by itself or it can work well with the mic/input
it is giving a nice tweety bird

;Tweep
{(jump (tar 1 ))(srate (short 8 51 ))
(right
(left
(saltb (waveb (wave (salt (wind )
3 (mul (barb )62 65 ))
4 (mul (barc )32 10 ))
5 (mul (bar )64 8 ))
7 (mul (bard )94 ))
))
}


#6

this bowl uses all 8 buttons
majA&B sound the individual saws
minA&B change the deno
MAJ C&D MIN C&D change the nume in various ways
15 pitches per osc with the nume modulations plus the octave switching allows for decent coverage with just 8 buttons

;2 OSC multibutton
{(srate (short 16 2 ))(jump (tar 1 ));C#3
(left
(saw
(add
(mul (return (majorc )(minorc ))12 48 )(mul (and (minorc )(majorc ))24 )
(mul (return (minorc )(majorc ))6 )(mul (return (majord )(minord ))16 )
(mul (and (minord )(majord ))32 )(mul (return (minord )(majord ))36 )
)
(add
(mul (and (minor )(major ))96 48 )
)
(major ))
)(right
(sawc
(add
(mul (return (majorc )(minorc ))6 24 )(mul (and (minorc )(majorc ))12 )
(mul (return (minorc )(majorc ))3 )(mul (return (majord )(minord ))8 )
(mul (and (minord )(majord ))16 )(mul (return (minord )(majord ))18 )
)
(add
(mul (and (minorb )(majorb ))-36 48 )
)
(majorb )))
}


#7

Pillow fight.txt (43.6 KB)

here is the large set of fish in which all of the above patches are housed and also lots of permutations

I can try to get some sounds together and video for patches I like a lot

I have a couple other large sets of patches that focus on different areas I’ll get some more info up about this one then move to those

the shnth is great fun; it handles feedback very well


#8

With a strobe tuner I tried to get as close as possible to a western tuning
if that is what you are after this would be a good starting place
I believe most are pretty close there are some which are about 20 to 40 cents off though
if I get a chance to go back through and get out the tuner again I’ll label them better

;Finely tuned
{(srate (short 16 2 ))
(left
(right
(horn
(togo
(major )(minor )
(short 48 120 ;C#3
)(short 51 98 ;D3
)(short 54 124 ;D#3
)(short 58 2 ;E3
)(short 61 30 ;F3
)
(short 64 127 ;F#3
)(short 68 127 ;G3
)(short 72 127 ;G#3
)(short 77 2 ;A3
)(short 81 127 ;A#3
)
(short 86 90 ;B3
)(short 91 127 ;C4
)(short 97 2 ;C#4
)(short 102 127 ;D4
)(short 109 2 ;D#4
))(togob (majorb )(minorb )48 96 24 ))
))}


#9

My lord this is such an awesome overview of an amazing instrument. I’ve been debating on getting one and whether or not it would be best for me, the price is steep but obviously well worth it for it’s ubiquity. It’s not like Peter’s other instruments are much cheaper (not meant to be a dig on him, for the amount of work he puts into those I think they’re worth every penny, I just wish I could afford them). The element of programming an instrument that is so interactable and unique is just amazing. I hope to get one before I go off to college as well as a teletype. I’ll definitely be revisiting this thread to look at all these amazing resources. Thank you!


#10

:slight_smile:

nice topic!
i am really enjoying my shnth, have one for a few months now –
not going deep enough with programming yet, usually i am playing and studying patches i found on muffs…

got shlisp installed on a rpi3 with supercollider for changing patches/situations –
if someone wants to try/improve:
(not working with all patches, sometimes it hangs (the same using fish or sublimetxt)… :frowning: )

// shnth patch switcher
a=GRHMonome128.new; // create a monome
b=GRHToggle(a, 0@7, 16, 1); // a horizontal 16x1 toggle placed at row 8
b.action = { |view, value|
switch(value,
0, {“sudo shlisp /home/pi/shlsp/jin.txt”.unixCmd;},
1, {“sudo shlisp /home/pi/shlsp/sidrazzi.txt”.unixCmd;},
2, {“sudo shlisp /home/pi/shlsp/sidraxEMULATIONS.txt”.unixCmd;},
3, {“sudo shlisp /home/pi/shlsp/plumbutter.txt”.unixCmd;},
4, {“sudo shlisp /home/pi/shlsp/vancouver.txt”.unixCmd;},
5, {“sudo shlisp /home/pi/shlsp/spelunkd.txt”.unixCmd;},
6, {“sudo shlisp /home/pi/shlsp/drumzzer.txt”.unixCmd;},
7, {“sudo shlisp /home/pi/shlsp/dubotogo.txt”.unixCmd;},
8, {“sudo shlisp /home/pi/shlsp/misophonia711.txt”.unixCmd;},
9, {“sudo shlisp /home/pi/shlsp/resist1.txt”.unixCmd;},
10, {“sudo shlisp /home/pi/shlsp/Camp.txt”.unixCmd;},
11, {“sudo shlisp /home/pi/shlsp/fish1x.txt”.unixCmd;},
12, {“sudo shlisp /home/pi/shlsp/newhorse.txt”.unixCmd;},
13, {“sudo shlisp /home/pi/shlsp/babbl.txt”.unixCmd;},
14, {“sudo shlisp /home/pi/shlsp/xzexploz.txt”.unixCmd;},
15, {“sudo shlisp /home/pi/shlsp/VIGOROUS INTERAMERICAN CANOODLE.txt”.unixCmd;}
)};


#11

I guess I would’ve chosen “Studies” and each one of your posts could have been a thread (because these long threads make it hard to find individual posts/patches later). But regardless, so happy to see all this shnth love here! Gonna make some time this weekend to go through these in some detail.


#12

i’ll have to study this thread when back from holidays (i actually have taken my shnth with me to help the flight seem shorter, but ran out of laptop battery fast).
I have this instrument for two weeks and only had a few hours to scratch the surface, but i already love the physical interaction with it.


#13

Wait, do you mean you can run shlisp and generate sound on just an RPi without the shnth?


#14

no - i use a rpi running shlisp to change patches /situations on shnth.


#15

open call to you ciat-lonbarde cats :slightly_smiling_face:
plz post some ideas/interesting sounds
from this cool synth- thx


#16

some shnth fun with steamchaser (as posted above)


#17

+1000 for this awesome topic.

not a shnth owner, but definitely a peter blasser fanboy. i’m from baltimore and have thought his world is so cool for years, but never decided to jump in.


#18

I’ve got a couple of Shnths back from when we brought him over for a workshop at my old school (the “conversation” between @tremblap and Peter at the start of that video make me crack up each and every time I hear it).

I’ve played with Shlisp in a few years, so not sure what new developments there have been, but after seeing the vid with Peter demoing the Shtar in the Mobenthy thread, I’ve reached out to Peter to see if it’s possible to have one ordered for a narrow window of time I’ll be in the US in a week or so. If it turns out to be possible, I’ll be redigging into Shlisp and seeing what that bad boy can do!


#19

Love that video and dialog so much, hahah!


#20

I want to like the shnth but I’m a little skeptical. How usable do you all find it? Do you feel like it’s playable as a standalone instrument or more as a tool for making surprising noises?