Spectral Soundscape for Absynth 5
Oscillator A runs in Granular mode and holds a long sample I made by resynthing a sopran sax phrase in Metasynth and then triggering gonglike metal samples with that data, manipulating the spectral content and rearranging the harmonics. Control the sample speed with Macro 1 and the sample position with Macro 2. A LFO-controlled Notch Filter processes that sample furtherly. Oscillator B runs in FM mode carrying a selfdrawn wave as the carrier. This is processed by LPF 4 Pole and a Cloudfilter. Control the Lowpass Cutoff with Macro 6 and the Cloudfilter's pitch with Macro 6 and more Cloudfilöter parameters with Macro 11. You can trigger panning envelopes for Channel B with the x/y pad using Macros 7+8. In the Master section the Balance of a strange Ringmodulator can be controlled with Macro 12. The Modwheel adds a temposynced amplitude modulation and the Pipe in the FX section is controllable with Macros 9+10. Check the LFO and envelope section for more modulation sources and targets.
Saturday, January 29, 2011
Friday, January 28, 2011
Website Revamp
absynthsounds.com just had a major overhaul and was totally redesigned by australian webdesigner Simon Fields who performed a fantastic job on this task. The whole site now looks like the actual synth itself, navigation is musch easier, no more scrolling and much more fun previewing the patches.
The donation scheme hasn't changed, donating a minimum of 18 Euros will give you access to all current and future Absynth 5 patches, and there is lot's more to come.
Check out the new website
The donation scheme hasn't changed, donating a minimum of 18 Euros will give you access to all current and future Absynth 5 patches, and there is lot's more to come.
Check out the new website
Sunday, January 23, 2011
new upload: Granular Growl
Absynth 5 only - filesize 2.9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Channel A carries a french horn sample in Granular mode, a low growling sound with glissandi. Control the sample playback speed with Macro 1. This is then processed by a LFO-morphed Waveshaper and a LPF 8 Pole Filter, Filter Feedback modulated by a LFO-morphed Frequency Shifter. Channel B uses a resynthed waveform extracted from another Horn sample within a Ringmod Oscillator with 3 unison voices. This waveform is processed by an envelope controlled Bandpass Filter, the envelope's first breakpoint is velocity sensitive so the harder you play the faster the Filter will rise to it's first Breakpoint. The overall Cutoff of the Bandpass is controllable with Macro 5. Channel C uses the same sample as Channel A but in normal Sample mode (looped) processed by a LPF 8 Pole with waveshaped Filter Feedback. A LFO-controlled Frequency Shifter processes the signal furtherly, control the LFO speed with Macro 8. In the Master section you'll find a Hipass Filter, control the Hipass Cutoff with Macro 11 and the Resonance with Macro 12. A Combfilter then turns the whole signal into a texture with distinct chromatic pitches, if you turn the Comb Feedback down with Macro 7 the whole texture will become more atonal and noisy as the original pitches of the samples will become audible. You can also tune the Comb up an octave with Macro 6. All channels have individual volume sliders (Macros 2-4) and the Aetherizer in the FX section is controllable with Macros 9+10. The Modwheel adds a fast temposynced amplitude modulation. Please check the LFO and envelope page for further Modulation sources and targets.
Channel A carries a french horn sample in Granular mode, a low growling sound with glissandi. Control the sample playback speed with Macro 1. This is then processed by a LFO-morphed Waveshaper and a LPF 8 Pole Filter, Filter Feedback modulated by a LFO-morphed Frequency Shifter. Channel B uses a resynthed waveform extracted from another Horn sample within a Ringmod Oscillator with 3 unison voices. This waveform is processed by an envelope controlled Bandpass Filter, the envelope's first breakpoint is velocity sensitive so the harder you play the faster the Filter will rise to it's first Breakpoint. The overall Cutoff of the Bandpass is controllable with Macro 5. Channel C uses the same sample as Channel A but in normal Sample mode (looped) processed by a LPF 8 Pole with waveshaped Filter Feedback. A LFO-controlled Frequency Shifter processes the signal furtherly, control the LFO speed with Macro 8. In the Master section you'll find a Hipass Filter, control the Hipass Cutoff with Macro 11 and the Resonance with Macro 12. A Combfilter then turns the whole signal into a texture with distinct chromatic pitches, if you turn the Comb Feedback down with Macro 7 the whole texture will become more atonal and noisy as the original pitches of the samples will become audible. You can also tune the Comb up an octave with Macro 6. All channels have individual volume sliders (Macros 2-4) and the Aetherizer in the FX section is controllable with Macros 9+10. The Modwheel adds a fast temposynced amplitude modulation. Please check the LFO and envelope page for further Modulation sources and targets.
Friday, January 21, 2011
new upload: Spoonstretcher
Absynth 5 only - filesize 370,6 KB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A while ago I made some cutlery samples I neded for a radio play. This patch uses the sample of a spoon being dropped into a ceramic cup. Osc A carries that sample in Granular mode, playhead position/speed controlled by a looped envelope. Processed with a Supercomb and an Allpass Filter. Channel B adds a synthetic wave processed by a LPF with modulated Filter Feedback and a Cloud Filter, control the Cloudfilter Balance with Macro 6 and the Balance of the Sync Granular Osc with Macro 7. Channel C also uses the spoon sample but in normal Sample mode then processed by a Supercomb and a Bandpass Filter. A Ringmodulator in the Master section can be controlled with Macros 4+8, the Cutoff of the Lowpass Filter in the Master section is controllable with Macro 5. The Aetherizer in the FX section has Macros 9-12 assigned. The Modwheel adds a slow pitch modulation. Macros 1-3 control the individual volumes of each channel. Please check the LFO and envelope page for further Modulation sources and targets.
Demo
get it here
A while ago I made some cutlery samples I neded for a radio play. This patch uses the sample of a spoon being dropped into a ceramic cup. Osc A carries that sample in Granular mode, playhead position/speed controlled by a looped envelope. Processed with a Supercomb and an Allpass Filter. Channel B adds a synthetic wave processed by a LPF with modulated Filter Feedback and a Cloud Filter, control the Cloudfilter Balance with Macro 6 and the Balance of the Sync Granular Osc with Macro 7. Channel C also uses the spoon sample but in normal Sample mode then processed by a Supercomb and a Bandpass Filter. A Ringmodulator in the Master section can be controlled with Macros 4+8, the Cutoff of the Lowpass Filter in the Master section is controllable with Macro 5. The Aetherizer in the FX section has Macros 9-12 assigned. The Modwheel adds a slow pitch modulation. Macros 1-3 control the individual volumes of each channel. Please check the LFO and envelope page for further Modulation sources and targets.
Demo
get it here
Friday, January 14, 2011
new upload: Blubb Sequence
Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
A technoid bubble sequence driven by the temposynced envelope assigned to the Filter Frequency of the BPF-Filter in Channel A. The pitches of the bubbly sounds generated in Channel B are controlled by the amplitude of the sequence via the Audio Mod in the Performance window. All Macros are assigned, turning up the Modwheel will create a grainy chaos which can be modified with 2 of the Macros. Please check the Macro page for all the available controls and have some bubbly fun with this one!
get it here
A technoid bubble sequence driven by the temposynced envelope assigned to the Filter Frequency of the BPF-Filter in Channel A. The pitches of the bubbly sounds generated in Channel B are controlled by the amplitude of the sequence via the Audio Mod in the Performance window. All Macros are assigned, turning up the Modwheel will create a grainy chaos which can be modified with 2 of the Macros. Please check the Macro page for all the available controls and have some bubbly fun with this one!
get it here
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