Absynth 5 only - filesize 8,6 KB - zip folder contains the ksd - no samples used
Oscillator A in Sync Granular Mode carries a selfdrawn wave, pitch and amplitude are controlled by retriggered/temposynced envelopes in 9/4, Osc phase is controlled by a temposynced LFO. A Cloudfilter processes that signal, the Cloud Filter HZ Parameter is controlled by a linked envelope. Control the Balance between Main/Mod (Oscillator noise) with Macro 5. Osc B caries a saw wave run through an envelope controlled Bandpass Filter (linked to Osc A pitch), control Filter Resonance with Macro 6. The pitch of Osc B is controlled by a linked envelope in double speed. In the Master section a LPF 8 Pole can reduce high frequencies when Macro 8 is turned down and a Combfilter can be activated when Macro 7 assigned to the Resonance is turned up. The Frequency of the Combfilter is controlled by a linked envelope. A Multitap Delay in the FX section adds synced delays, control wet Balance and Feedback with Macros 9/10. Both Channles also have Macros assigned to their general volumes (1+2).
MP3 Demo
get it here:
absynthsounds.com
Sunday, June 27, 2010
new upload:Brutal Sequence
Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
Each Channel plays a different sequence. Various retriggered and looped envelopes control the Oscillator's Pitch, Filtering and Panning. Lot's of LFO-controlled morphing going on as well. Control the Volume of each sequence with it's dedicated Macro, control the size and wet amount of the Tube in the FX section with 2 other Macros. Check the envelope page to see what's going on.
MP3 Demo
get it here:
absynthsounds.com
Each Channel plays a different sequence. Various retriggered and looped envelopes control the Oscillator's Pitch, Filtering and Panning. Lot's of LFO-controlled morphing going on as well. Control the Volume of each sequence with it's dedicated Macro, control the size and wet amount of the Tube in the FX section with 2 other Macros. Check the envelope page to see what's going on.
MP3 Demo
get it here:
absynthsounds.com
Wednesday, June 16, 2010
new upload: Dark Loop Scape
Absynth 5 only - filesize 7,9 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Channel A+B both carry a strange loop I made sending squeaky metal sounds through a long Impulse response and a Grainfreezer. Osc A plays this back in normal looped Sample mode, Osc B is set to Granular mode and a looped envelope controls the sample's playhead position. In Channel A a Waveshaper and a LFO-controlled LPF 8 Pole Filter process the sound, in Channel B a LFO-controlled Allpass 8 Filter with it's Feedback twisted by a morphing Waveshaper and a Cloudfilter twist the sound. Channel C carries the looped sample of a Barrel being dragged on a stone floor with a long bassy decay, the sample is set to a fixed note, you can control it's pitch with Macro 6. A Highpass Filter and a Ringmodulator in the Master setion process the signal furtherly before it hits the Resonators in the FX section. Control the overall Attack time with Macro 1. Each Channel has it's own Macro for volume control (Macros 2-4). Control the Master Highpass with Macro 5. The Ringmodulator has 2 controls (Balance/Pitch) set to x/y-Macros 7/8. The Resonators can be controlled with Macros 9-12. The Modwheel adds a temposynced LFO which controls the Volume of all Channels resulting in a temposynced tremolo.
MP3 Demo
get it here:
absynthosunds.com
Channel A+B both carry a strange loop I made sending squeaky metal sounds through a long Impulse response and a Grainfreezer. Osc A plays this back in normal looped Sample mode, Osc B is set to Granular mode and a looped envelope controls the sample's playhead position. In Channel A a Waveshaper and a LFO-controlled LPF 8 Pole Filter process the sound, in Channel B a LFO-controlled Allpass 8 Filter with it's Feedback twisted by a morphing Waveshaper and a Cloudfilter twist the sound. Channel C carries the looped sample of a Barrel being dragged on a stone floor with a long bassy decay, the sample is set to a fixed note, you can control it's pitch with Macro 6. A Highpass Filter and a Ringmodulator in the Master setion process the signal furtherly before it hits the Resonators in the FX section. Control the overall Attack time with Macro 1. Each Channel has it's own Macro for volume control (Macros 2-4). Control the Master Highpass with Macro 5. The Ringmodulator has 2 controls (Balance/Pitch) set to x/y-Macros 7/8. The Resonators can be controlled with Macros 9-12. The Modwheel adds a temposynced LFO which controls the Volume of all Channels resulting in a temposynced tremolo.
MP3 Demo
get it here:
absynthosunds.com
Tuesday, June 15, 2010
new upload: Giant Stabs
Absynth 5 only - filesize 8,4 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two virtual steel string samples I made with AAS String Studio (actually for my new Kontakt Patch Steel String Monster which will be available soon) run through various Tubes and Saturators. Keyboard split happens at C3. These samples are both run through a Supercomb Filter with it's Feedback modulated by an envelope controlled Frequency shifter (the Feedback is very velociy sensitive) and then through a Waveshaper. The LPF 4 Pole in the Master section is also very velocity sensitive. An Aetherizer in the Master section adds a huge space controllable with 3 Macros. You can also control the Sample speed with Macro 1, Release time with Macro 2 and the envelope break point for Sample Grain size with Macro 5, turning this Macro down will make the samples sound very gurgly. The Modwheel is assigned to LFO1 Master depth which adds a strange Pitch- and Combfilter Frequency modulation.
MP3 Demo
get it here:
absynthsounds.com
Two virtual steel string samples I made with AAS String Studio (actually for my new Kontakt Patch Steel String Monster which will be available soon) run through various Tubes and Saturators. Keyboard split happens at C3. These samples are both run through a Supercomb Filter with it's Feedback modulated by an envelope controlled Frequency shifter (the Feedback is very velociy sensitive) and then through a Waveshaper. The LPF 4 Pole in the Master section is also very velocity sensitive. An Aetherizer in the Master section adds a huge space controllable with 3 Macros. You can also control the Sample speed with Macro 1, Release time with Macro 2 and the envelope break point for Sample Grain size with Macro 5, turning this Macro down will make the samples sound very gurgly. The Modwheel is assigned to LFO1 Master depth which adds a strange Pitch- and Combfilter Frequency modulation.
MP3 Demo
get it here:
absynthsounds.com
Friday, June 11, 2010
new upload: Rotating Birdwhistle
Absynth 5 only - filesize 4,8 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Channel A carries a sample I made playing one of my Birdwhistles turning around myself in front of 3 microphones (L-C-R). This is transformed by a Ringmodulator with envelope controlled pitch and then run through a Cloudfilter pitched up an octave with it's Balance controlled by the Modwheel. Oscillator B in Ringmod mode with a LFO-morphed Modulator wave is run through a LPF 8 Pole Filter (Macro assigned to Cutoff) and a Cloudfilter pitched down an octave, Balance also controlled by the Modwheel. Channel Vol is controlled by a fast LFO, LFO rate is controlled by another LFO resulting in a irregular tremolo. A Supercomb in the Master section with ringmodulated Feedback adds more strangeness, 3 Macros are assigned to Supercomb Frequency, Resonance and Ringmod Feedback amount. A LFO-controlled Allpass 8 Filter adds subtle phasing before the signal hits the Resonators in the FX section. Check the LFO and Envelope page for further Modulation sources and targets.
MP3 Demo
get it here:
absynthsounds.com
Channel A carries a sample I made playing one of my Birdwhistles turning around myself in front of 3 microphones (L-C-R). This is transformed by a Ringmodulator with envelope controlled pitch and then run through a Cloudfilter pitched up an octave with it's Balance controlled by the Modwheel. Oscillator B in Ringmod mode with a LFO-morphed Modulator wave is run through a LPF 8 Pole Filter (Macro assigned to Cutoff) and a Cloudfilter pitched down an octave, Balance also controlled by the Modwheel. Channel Vol is controlled by a fast LFO, LFO rate is controlled by another LFO resulting in a irregular tremolo. A Supercomb in the Master section with ringmodulated Feedback adds more strangeness, 3 Macros are assigned to Supercomb Frequency, Resonance and Ringmod Feedback amount. A LFO-controlled Allpass 8 Filter adds subtle phasing before the signal hits the Resonators in the FX section. Check the LFO and Envelope page for further Modulation sources and targets.
MP3 Demo
get it here:
absynthsounds.com
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