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
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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
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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
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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
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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
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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
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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:
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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
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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
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Sunday, May 30, 2010
new upload: Synced Panswell Pad
Absynth 5 only - filesize 8,7 KB - zip contains the ksd - no samples used
Osc A+B both play in FM mode with a Factory wave as Carrier and a selfdrawn wave as Modulator, Unison set to 5 voices. They are then processed by LPF 8 Pole Filters, their Feedback modulated by a Waveshaper using the same wave as the Oscillator's Modulators. Filter Cutoffs and Osc Volumes are controlled by temposynced retriggered envelopes (see screenshot), Channel A pans from L->R and Channel B from R->L. The Cloudfilters in A2/B2 then add some shimmer, Filter Balance controlled by the Modwheel. In the Master section a Waveshaper adds some Density before a LFO controlled Supercomb does it's job. Control Supercomb resonance with Macro 5. An Aetherizer in the FX section adds a big warped space.
MP3 Demo
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Osc A+B both play in FM mode with a Factory wave as Carrier and a selfdrawn wave as Modulator, Unison set to 5 voices. They are then processed by LPF 8 Pole Filters, their Feedback modulated by a Waveshaper using the same wave as the Oscillator's Modulators. Filter Cutoffs and Osc Volumes are controlled by temposynced retriggered envelopes (see screenshot), Channel A pans from L->R and Channel B from R->L. The Cloudfilters in A2/B2 then add some shimmer, Filter Balance controlled by the Modwheel. In the Master section a Waveshaper adds some Density before a LFO controlled Supercomb does it's job. Control Supercomb resonance with Macro 5. An Aetherizer in the FX section adds a big warped space.
MP3 Demo
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Saturday, May 29, 2010
new upload: Scifi Combs
Absynth 5 only - filesize 10,1 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Big Scifi Soundscpae/Pad
The tonality in this patch is only created by the high Resonance of the involved Combfilters, if you turn the Macro assigned to Comb Resonance down the patch will turn into a noisy Soundscape without tonality. Osc A carries a deranged voice sample I made from processing my voice with various Plugs, mainly with Meldaproduction's Multi Harmonizer, sample playhead poistion is controlled by an envelope. The signal is send through a Combfilter and a LPF 8 Pole Filter, control the LPF Cutoff with the assigned Macro. Osc B carries an electronic Scifi texture I made with Reaktor 5 and Logic's binaural Panning features, sample playhead poistion is controlled by a looped envelope. This is also send through a Combfilter and a Frequency shifter, the pitch of the shifter is controlled via velocity and a looped envelope. The Modwheel adds a fast random Modulation to the Combfilter's frequency resulting in a pitch modulation. A Waveshaper in the Master section adds some compression before the signal hits a Cloudfilter. Control Cloudfilter Balance and Grain Rate with the assigned Macros. The attack time of both Channels is assigned to Macro 1, their volumes can be individually controlled with Macros 2 and 3. An Echo module in the FX section with Echo time controlled by a LFO adds moe spaciousness. Check the LFO, Macro and Envelope page for further Modulation sources and targets.
MP3 Demo
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Big Scifi Soundscpae/Pad
The tonality in this patch is only created by the high Resonance of the involved Combfilters, if you turn the Macro assigned to Comb Resonance down the patch will turn into a noisy Soundscape without tonality. Osc A carries a deranged voice sample I made from processing my voice with various Plugs, mainly with Meldaproduction's Multi Harmonizer, sample playhead poistion is controlled by an envelope. The signal is send through a Combfilter and a LPF 8 Pole Filter, control the LPF Cutoff with the assigned Macro. Osc B carries an electronic Scifi texture I made with Reaktor 5 and Logic's binaural Panning features, sample playhead poistion is controlled by a looped envelope. This is also send through a Combfilter and a Frequency shifter, the pitch of the shifter is controlled via velocity and a looped envelope. The Modwheel adds a fast random Modulation to the Combfilter's frequency resulting in a pitch modulation. A Waveshaper in the Master section adds some compression before the signal hits a Cloudfilter. Control Cloudfilter Balance and Grain Rate with the assigned Macros. The attack time of both Channels is assigned to Macro 1, their volumes can be individually controlled with Macros 2 and 3. An Echo module in the FX section with Echo time controlled by a LFO adds moe spaciousness. Check the LFO, Macro and Envelope page for further Modulation sources and targets.
MP3 Demo
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Wednesday, May 26, 2010
new upload: Rising Pad
Absynth 5 only - filesize 1,4 MB - zip folder contains the ksd and one sample (mono/wav/48khz/24 Bit)
Osc A in Double Mode carries a LFO-morphed wave as main wave and a selfdrawn LFO-morphed wave as Modulator. Unison is set to 6 voices making it a rich synthetic sound. The Amplitude is controlled by a rising temposynced retriggered envelope, so is the Cutoff Frequency of the LPF 8 Pole Filter and the Cloud Filter Hz Parameter (see attached screenshots). Osc B carries a Soprano Sax sample in granular mode, this is not looped so the sample will stop playing after a while. The sample is then processed by a LPF 8 Pole Filter and a Ringmodulator, control the Ringmod Balance and Ringmod Pitch with the assigned Macros. After passing a Waveshaper in the Master section the signal hits a Supercomb Filter, control it's Feedback with the Modwheel and it's Frequency with the assigned Macro. The Aetherizer in the FX section adds a phased space tuned up an octave, you can control it's pitch and Feedback with the assigned Macros, Check the LFO and Envelope page for further Modulation sources and targets.
MP3 Demo
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Osc A in Double Mode carries a LFO-morphed wave as main wave and a selfdrawn LFO-morphed wave as Modulator. Unison is set to 6 voices making it a rich synthetic sound. The Amplitude is controlled by a rising temposynced retriggered envelope, so is the Cutoff Frequency of the LPF 8 Pole Filter and the Cloud Filter Hz Parameter (see attached screenshots). Osc B carries a Soprano Sax sample in granular mode, this is not looped so the sample will stop playing after a while. The sample is then processed by a LPF 8 Pole Filter and a Ringmodulator, control the Ringmod Balance and Ringmod Pitch with the assigned Macros. After passing a Waveshaper in the Master section the signal hits a Supercomb Filter, control it's Feedback with the Modwheel and it's Frequency with the assigned Macro. The Aetherizer in the FX section adds a phased space tuned up an octave, you can control it's pitch and Feedback with the assigned Macros, Check the LFO and Envelope page for further Modulation sources and targets.
MP3 Demo
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Saturday, May 15, 2010
new upload: Rubberplate Gong Sequence
Samplejumped gonglike Sequence
Absynth 5 only - filesize 18 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
I had an extensive sample session yesterday draging rubber balls over various metal objects and hitting a big metal plate with those balls. Chan A carries a sample containing various hits in temposynced, retriggered Sample jump mode. The sequence was programmed at 60 BPM, the higher you play the sound the less the sample jump sequence will become effective as the hits in the recording will actually play before the next sample jump point comes in. This sample is then processed by a velocity sensitive Cloud Filter (Modwheel assigned to Balance) and a LFO-morphed Ringmodulator (Macro assigned to Balance). Chan B carries a sample in Granular Mode (Playhead position controlled by a temposynced, retriggered envelope) dragging a rubber ball over that beautiful plate processed by a Comb Filter (Reso assigned to Modwheel) and a LFO-morphed Frequency Shifter (Feedback assigned to Modwheel, velocity controls Mod Pitch). Both Channels have Macros assigned to their volumes.
In the Master Section a LFO-morphed Waveshaper adds strange Distortions (turn the WS off if you prefer a clean sound) and a LPF 8 Pole FIlter (Cutoff assigned to a Macro) gives you control over the high Frequencies. The Aetherizer in the FX sextion has Macros assiged to Wet Balance, Grain duration and Feedback amount so you can vary the space size/amount. The Random Pitch Parameter in the Aetherizer is assigned to a looped envelope in order to add occasional detuning of the space. The Patch uses a microtonal Tuning (8ve/24 - semitone=quatertone). Check the Midi and LFO page for further Modulation sources and targets.
MP3 Demo
get it here:
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Absynth 5 only - filesize 18 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
I had an extensive sample session yesterday draging rubber balls over various metal objects and hitting a big metal plate with those balls. Chan A carries a sample containing various hits in temposynced, retriggered Sample jump mode. The sequence was programmed at 60 BPM, the higher you play the sound the less the sample jump sequence will become effective as the hits in the recording will actually play before the next sample jump point comes in. This sample is then processed by a velocity sensitive Cloud Filter (Modwheel assigned to Balance) and a LFO-morphed Ringmodulator (Macro assigned to Balance). Chan B carries a sample in Granular Mode (Playhead position controlled by a temposynced, retriggered envelope) dragging a rubber ball over that beautiful plate processed by a Comb Filter (Reso assigned to Modwheel) and a LFO-morphed Frequency Shifter (Feedback assigned to Modwheel, velocity controls Mod Pitch). Both Channels have Macros assigned to their volumes.
In the Master Section a LFO-morphed Waveshaper adds strange Distortions (turn the WS off if you prefer a clean sound) and a LPF 8 Pole FIlter (Cutoff assigned to a Macro) gives you control over the high Frequencies. The Aetherizer in the FX sextion has Macros assiged to Wet Balance, Grain duration and Feedback amount so you can vary the space size/amount. The Random Pitch Parameter in the Aetherizer is assigned to a looped envelope in order to add occasional detuning of the space. The Patch uses a microtonal Tuning (8ve/24 - semitone=quatertone). Check the Midi and LFO page for further Modulation sources and targets.
MP3 Demo
get it here:
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Sunday, May 9, 2010
new upload: Space Attacks
Ominous Sci-Fi Soundscape
Absynth 5 only - filesize 5,2 MB - zip folder contains the ksd and three samples (wav/48khz/24 Bit)
Two samples from a series named Space Attacks which I made with Reaktor and another sample I made with Synplant are processed in this patch. Chan 1 in Granular mode, Time set to 3%, Grain Size is controlled by an envelope. A Cloudfilter adds some galactic shimmering (quantized Cloud Grains) which you will only hear if you turn up the Modwheel. A LFO-morphed Waveshaper then deconstructs the signal. Chan B in normal Sample mode is processed by a LFO-controlled Supercomb which adds voicelike screaming textures. Chan C in normal Sample mode hits the Master section unprocessed. All Channels have a Macro assigned to their volumes. The Attack time of all samples can also be controlled with a Macro. A LFO-morphed Ringmodulator in the Master section can be added with the assigned Macro and a LPF 8 Pole Filter with envelope controlled Resonance cuts some of the high Frequencies. Control the LPF Cutoff with the assigned Macro. The wet/dry parameters of the Resonators in the FX section are controlled by temposynced envelopes resulting in a subtle pulsation of the space. Be patient with this patch and play each note for a long time as it needs time to evolve.
MP3 Demo
get it here:
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Absynth 5 only - filesize 5,2 MB - zip folder contains the ksd and three samples (wav/48khz/24 Bit)
Two samples from a series named Space Attacks which I made with Reaktor and another sample I made with Synplant are processed in this patch. Chan 1 in Granular mode, Time set to 3%, Grain Size is controlled by an envelope. A Cloudfilter adds some galactic shimmering (quantized Cloud Grains) which you will only hear if you turn up the Modwheel. A LFO-morphed Waveshaper then deconstructs the signal. Chan B in normal Sample mode is processed by a LFO-controlled Supercomb which adds voicelike screaming textures. Chan C in normal Sample mode hits the Master section unprocessed. All Channels have a Macro assigned to their volumes. The Attack time of all samples can also be controlled with a Macro. A LFO-morphed Ringmodulator in the Master section can be added with the assigned Macro and a LPF 8 Pole Filter with envelope controlled Resonance cuts some of the high Frequencies. Control the LPF Cutoff with the assigned Macro. The wet/dry parameters of the Resonators in the FX section are controlled by temposynced envelopes resulting in a subtle pulsation of the space. Be patient with this patch and play each note for a long time as it needs time to evolve.
MP3 Demo
get it here:
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Monday, May 3, 2010
new upload: Electro Sequence
Temposynced machine music
Absynth 5 only - filesize 3,6 KB - zip contains the ksd - no samples used
Chan A uses a FM Oscillator playing a melodic 1-Bar sequence in Retrigger mode, An envelope in Retrigger mode controls the FM index. A LPF 8 Pole FIlter with high Resonance processed by a Waveshaper (control the Waveshaper's amount with the Modwheel) processes the signal before it hits a Waveshaper. Control the Cutoff of the LPF with a Macro. Chan B adds a kickdrumlike sequence processed by a Waveshaper and a LPF 4 Pole Filter. Chan C plays the same melodic sequence as Chan A, it's Amplitude is linked to the rhythm of the Kickdrum. In the Master section a Frequency Shifter and a Comb Filter do their job, control the Feedback of the Frequency Shifter and the Feedback of the Comb with the assigned Macros. Chan A+C have retriggered envelopes assigned to their stereo pannings. A short Multitap delay in the FX section adds some spaciousness. The individual Volume of all 3 sequences can be controlled with the assigned Macros.
MP3 Demo
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Absynth 5 only - filesize 3,6 KB - zip contains the ksd - no samples used
Chan A uses a FM Oscillator playing a melodic 1-Bar sequence in Retrigger mode, An envelope in Retrigger mode controls the FM index. A LPF 8 Pole FIlter with high Resonance processed by a Waveshaper (control the Waveshaper's amount with the Modwheel) processes the signal before it hits a Waveshaper. Control the Cutoff of the LPF with a Macro. Chan B adds a kickdrumlike sequence processed by a Waveshaper and a LPF 4 Pole Filter. Chan C plays the same melodic sequence as Chan A, it's Amplitude is linked to the rhythm of the Kickdrum. In the Master section a Frequency Shifter and a Comb Filter do their job, control the Feedback of the Frequency Shifter and the Feedback of the Comb with the assigned Macros. Chan A+C have retriggered envelopes assigned to their stereo pannings. A short Multitap delay in the FX section adds some spaciousness. The individual Volume of all 3 sequences can be controlled with the assigned Macros.
MP3 Demo
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Saturday, May 1, 2010
new upload: Rubbergong Scape
Huge tonal Soundscape with very low Frequencies
Absynth 5 only - filesize 20,6 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A recording I made during a recent workshop dragging rubber balls over various Gongs and low Tomtoms, some tinkling metal chains are also played in the second half of the sample. Osc 1 in Granular mode plays back the first half of the sample, Osc 2 uses the tinkling chain part. Both sample playheads are controlled by looped envelopes, a Macros is assigned to the first segment of the playhead's envelopes. The Sample's granular size is assigned to the inverted Modwheel. Osc A is processed by a Waveshaper and a Combfilter, Osc B by a Waveshaper and a Supercomb, Filter Feedback modulated by a morphing Frequency Shifter. Control the Filter Feedback with the assigned Macros. In the Master section another Waveshaper adds more density and a Ringmodulator with it's Balance, Pitch control and Pitch Modulation assigned to Macros can be added. The Aetherizer in the FX section can be detuned and pitched with Macros. Check the LFO page to check further Modulation sources and targets. Your Subwoofers will freak out about this one!
MP3 Demo
get it here:
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Absynth 5 only - filesize 20,6 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A recording I made during a recent workshop dragging rubber balls over various Gongs and low Tomtoms, some tinkling metal chains are also played in the second half of the sample. Osc 1 in Granular mode plays back the first half of the sample, Osc 2 uses the tinkling chain part. Both sample playheads are controlled by looped envelopes, a Macros is assigned to the first segment of the playhead's envelopes. The Sample's granular size is assigned to the inverted Modwheel. Osc A is processed by a Waveshaper and a Combfilter, Osc B by a Waveshaper and a Supercomb, Filter Feedback modulated by a morphing Frequency Shifter. Control the Filter Feedback with the assigned Macros. In the Master section another Waveshaper adds more density and a Ringmodulator with it's Balance, Pitch control and Pitch Modulation assigned to Macros can be added. The Aetherizer in the FX section can be detuned and pitched with Macros. Check the LFO page to check further Modulation sources and targets. Your Subwoofers will freak out about this one!
MP3 Demo
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Friday, April 30, 2010
new upload: Cinematic Synth
Cinematic Synth
Absynth 5 only - filesize 8,2 KB - zip contains the ksd - no samples used
Chan A carries a selfdrawn waveform in Sync Granular Mode, processed by a Cloudfilter and a Supercomb. Chan B caries a Double Osc. the Balan ce between Main and Mod Waveform is controlled by a temposynced, squareshaped LFO. Osc B is then processed by an envelope controlled Bandpass and a LPF 4 Pole Filter. Chan C carries a drony, waveshaped sound, it's Volume is controlled with the Modwheel. A LPF 8 Pole Filter in the Master section (Macros assigned to Filter Cutoff Frequency and Feedback amount) with LFO-morphed waveshaped Filterfeedback processes the signal furtherly before it his the Resonators in the FX section, FX Filter Frequency controlled by a looped envelope.
Check the Macro, Envelope and LFO page for further Modulation sources and targets
MP3 Demo
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Absynth 5 only - filesize 8,2 KB - zip contains the ksd - no samples used
Chan A carries a selfdrawn waveform in Sync Granular Mode, processed by a Cloudfilter and a Supercomb. Chan B caries a Double Osc. the Balan ce between Main and Mod Waveform is controlled by a temposynced, squareshaped LFO. Osc B is then processed by an envelope controlled Bandpass and a LPF 4 Pole Filter. Chan C carries a drony, waveshaped sound, it's Volume is controlled with the Modwheel. A LPF 8 Pole Filter in the Master section (Macros assigned to Filter Cutoff Frequency and Feedback amount) with LFO-morphed waveshaped Filterfeedback processes the signal furtherly before it his the Resonators in the FX section, FX Filter Frequency controlled by a looped envelope.
Check the Macro, Envelope and LFO page for further Modulation sources and targets
MP3 Demo
get it here:
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Thursday, April 29, 2010
new upload: Vocal Dreaming
Very warm and ethereal vocal patch
Absynth 5 only - filesize 5,1 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two female vocal samples from a recent project edited in Melodyne played back in Granular mode, Sample Playhead position and speed controlled by looped envelopes. Chan A carries a single note, Chan B carries a higher phrase singing a straight note and moving up a semitone, the samples are tuned in octaves. Both voices are processed by envelope driven Cloud Filters, the wet/dry Balance is controlled with the Modwheel. A Supercomb in the Master section can be added by using the assigned Macro which controls the Supercomb's ringmodulated Feedback. A tuneable Aetherizer space provides the neccessary spaciousness, make sure the assigned Macro for the Aetherizer's pitch is set to where you want it to be, otherwise the Patch gets all detund which of course can be very desirable. Both Channels have their volumes assigned to Macros so you can balance between the two voices.
MP3 Demo
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Absynth 5 only - filesize 5,1 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two female vocal samples from a recent project edited in Melodyne played back in Granular mode, Sample Playhead position and speed controlled by looped envelopes. Chan A carries a single note, Chan B carries a higher phrase singing a straight note and moving up a semitone, the samples are tuned in octaves. Both voices are processed by envelope driven Cloud Filters, the wet/dry Balance is controlled with the Modwheel. A Supercomb in the Master section can be added by using the assigned Macro which controls the Supercomb's ringmodulated Feedback. A tuneable Aetherizer space provides the neccessary spaciousness, make sure the assigned Macro for the Aetherizer's pitch is set to where you want it to be, otherwise the Patch gets all detund which of course can be very desirable. Both Channels have their volumes assigned to Macros so you can balance between the two voices.
MP3 Demo
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Wednesday, April 28, 2010
new upload: Barrelscrape
Absynth 5 only - filesize 8,4 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
The sample of a big Barrel being dragged over a stone floor is used in Channels A+B in granular mode run through envelope controlled Waveshapers. The playhead position of the sample is controlled by looped envelopes. Chan B has a LFO-morphed Frequency Shifter apllied, the temposynced LFO 1 switches between Chan A+B, LFO amount is controlled via the Modwheel. Chan C carries a similar looped Barrelscrape sample in normal Sampler mod set to a fixed pitch, pitch controlled by a looped envelope. A Macro-controlled Supercomb and a Cloudfilter in the Master section process the sound furtherly before an envelope controlled Multicomb in the FX section adds the final touches. Check the Macro, Envelope and LFO page for further Modulation sources and targets.
get it here:
absynthsounds.com
The sample of a big Barrel being dragged over a stone floor is used in Channels A+B in granular mode run through envelope controlled Waveshapers. The playhead position of the sample is controlled by looped envelopes. Chan B has a LFO-morphed Frequency Shifter apllied, the temposynced LFO 1 switches between Chan A+B, LFO amount is controlled via the Modwheel. Chan C carries a similar looped Barrelscrape sample in normal Sampler mod set to a fixed pitch, pitch controlled by a looped envelope. A Macro-controlled Supercomb and a Cloudfilter in the Master section process the sound furtherly before an envelope controlled Multicomb in the FX section adds the final touches. Check the Macro, Envelope and LFO page for further Modulation sources and targets.
get it here:
absynthsounds.com
Saturday, March 6, 2010
new upload: Beauty Dronescape
Channel A processes a long sample (2:10) of a huge drone I made using Alchemy and various other Plugs. Osc A is set to Granular mode, control the Sample speed with the assigned Macro. A Supercomb Filter can be added using the assigned Macro, another Macro controls the Filter Feedback amount and yet another Macro controls the Balance of the Ringmodulator in Channel A. Filter and Ringmodulator are modulated by various LFOs, check the LFO page if you want to understand what's going on. The overall Volume of the Drone can also be controlled with a Macro. Osc B in Granular mode carries the sample of some excited penguins just before feeding time which I recorded in a Zoo. The sample speed is controllable with a Macro, the pitch is controlled by a looped envelope and also via Velocity. The LFO-morphed Waveshaper in the Master section adds some Saturation/Distortion and a Lowpass Filter can be controlled with the assigned Macro. The huge Aetherizer space in the FX section is tuned up an octave, you can pitch it down an octave with the assigned Macro, also some other Macros control various FX parameters. The Modwheel adds a temposynced sawshaped Amplitude Modulation.
get it here:
absynthsounds.com
get it here:
absynthsounds.com
Wednesday, March 3, 2010
new upload: Dreamy Piano
Absynth 5 only - filesize 2,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
The sample of a Piano Sequence I recorded at 120 Bpm in Eb minor is used in Oscillators A+B set to Granular mode. Temposynced envelopes in retrigger mode determine the sample playback speed so it will follow the Host tempo. Channel A processes the piano using a Cloudfilter, it's Balance controlled by a Macro. To add detune use the Modwheel. Channel B furtherly processes the sample using a LFO-morphed Frequency Shifter, Frequency is controlled by a temposynced step envelope. Channel C adds a Drone sound which is mapped from C2 downwards. A Ringmodulator in the Master section can be added using the assigned Macro for Ringmod Balance. The Volumes of Channel B+C are assigned to Macros. Happy Depression everybody!
get it here:
absynthsounds.com
The sample of a Piano Sequence I recorded at 120 Bpm in Eb minor is used in Oscillators A+B set to Granular mode. Temposynced envelopes in retrigger mode determine the sample playback speed so it will follow the Host tempo. Channel A processes the piano using a Cloudfilter, it's Balance controlled by a Macro. To add detune use the Modwheel. Channel B furtherly processes the sample using a LFO-morphed Frequency Shifter, Frequency is controlled by a temposynced step envelope. Channel C adds a Drone sound which is mapped from C2 downwards. A Ringmodulator in the Master section can be added using the assigned Macro for Ringmod Balance. The Volumes of Channel B+C are assigned to Macros. Happy Depression everybody!
get it here:
absynthsounds.com
Tuesday, February 23, 2010
new upload: Gongswell Scape
Absynth 5 only - filesize 2,3 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample I recored some weeks ago of a creshending tremolo played on two small asian gongs is used in Oscillator 1 set to granular mode. Sample playhead position/speed is controlled by a looped envelope, control the release time with the assigned Macro. This is run through a Cloudfilter (Balance controlled by the Modwheel) and a Combfilter with it's Resonance assigned to a Macro. Channel B is set to FM mode, Channel C to Double mode, both are run through envelope controlled BPFs and a LPF 8Filter. A Waveshaper and another Cloudfilter (Balance also assigned to the Modwheel) are found in the Master section before the signal hits the Resonators in the FX section. Check the LFO and Macro pages for further Modulation sources and targets.
get it here:
absynthsounds.com
A sample I recored some weeks ago of a creshending tremolo played on two small asian gongs is used in Oscillator 1 set to granular mode. Sample playhead position/speed is controlled by a looped envelope, control the release time with the assigned Macro. This is run through a Cloudfilter (Balance controlled by the Modwheel) and a Combfilter with it's Resonance assigned to a Macro. Channel B is set to FM mode, Channel C to Double mode, both are run through envelope controlled BPFs and a LPF 8Filter. A Waveshaper and another Cloudfilter (Balance also assigned to the Modwheel) are found in the Master section before the signal hits the Resonators in the FX section. Check the LFO and Macro pages for further Modulation sources and targets.
get it here:
absynthsounds.com
Monday, February 22, 2010
new upload: Floating Spacechords
Absynth 5 only - filesize 6,1 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
So I sampled the decay phase of a nice Piano chord (C#min7/9/11) and put Osc A in Granular mode playing back that sample, it's speed controlled by an envelope. Control the sustain Breakpoint of that envelope with the assigned Macro. The signal is then fed into a LFO controlled Allpass 8 Filter, control it's resonance with the dedicated Macro and it's overall Frequency via Velocity. A Cloudfilter processes the signal furtherly, Filter Frequency controlled by an envelope, Filter Balance is controllable with a Macro. Channel B runs a Double Oscillator fed through a LPF 8 Pole Filter, it's Feedback processed by an envelope driven Frequency Shifter, control the Mod Pitch Rise Time and sustain level with the assigned Macros and the overall Volume of Channel B with another Macro. A Waveshaper in the Master section adds subtle distortion and the Supercomb with Macro-controlled Feedback adds some rich harmonics if desired. Check the LFO, Envelope and Macro page for further Modulation sources and targets. The Aetherizer in the FX section adds a beutiful huge space, 4 assigned Macros give you control over various Parameters.
get it here:
absynthsounds.com
So I sampled the decay phase of a nice Piano chord (C#min7/9/11) and put Osc A in Granular mode playing back that sample, it's speed controlled by an envelope. Control the sustain Breakpoint of that envelope with the assigned Macro. The signal is then fed into a LFO controlled Allpass 8 Filter, control it's resonance with the dedicated Macro and it's overall Frequency via Velocity. A Cloudfilter processes the signal furtherly, Filter Frequency controlled by an envelope, Filter Balance is controllable with a Macro. Channel B runs a Double Oscillator fed through a LPF 8 Pole Filter, it's Feedback processed by an envelope driven Frequency Shifter, control the Mod Pitch Rise Time and sustain level with the assigned Macros and the overall Volume of Channel B with another Macro. A Waveshaper in the Master section adds subtle distortion and the Supercomb with Macro-controlled Feedback adds some rich harmonics if desired. Check the LFO, Envelope and Macro page for further Modulation sources and targets. The Aetherizer in the FX section adds a beutiful huge space, 4 assigned Macros give you control over various Parameters.
get it here:
absynthsounds.com
Friday, February 5, 2010
new upload: Mouthbubbles
Absynth 5 only - filesize 1,7 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample of bubbly sounds made with my mouth very close to the Microphone, sometimes touching it (resulting in mallet like sounds). All 3 Oscillators use that sample in Sample Jump Mode each one with a different sequence in temposynced Retrigger mode, control the Volume of each sequence with the assigned Macro. The samples are processed with Supercombs, their Resonances can be controlled with a Macro, the Filter Feedback is processed by LFO-morphed Frequency Shifters, their pitch assigned to the Modwheel. A Waveshaper and Highpass Filter in the Master section can be controlled with the assigned Macros. The Multitap Delay in the FX section adds temposynced Delays.
get it here:
absynthsounds.com
A sample of bubbly sounds made with my mouth very close to the Microphone, sometimes touching it (resulting in mallet like sounds). All 3 Oscillators use that sample in Sample Jump Mode each one with a different sequence in temposynced Retrigger mode, control the Volume of each sequence with the assigned Macro. The samples are processed with Supercombs, their Resonances can be controlled with a Macro, the Filter Feedback is processed by LFO-morphed Frequency Shifters, their pitch assigned to the Modwheel. A Waveshaper and Highpass Filter in the Master section can be controlled with the assigned Macros. The Multitap Delay in the FX section adds temposynced Delays.
get it here:
absynthsounds.com
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