Wednesday, January 27, 2010

new upload: Bellverbfeedback

Absynth 5 only - filesize 7,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
The sample of a Bell sound send through a huge IKM reverb which is then send into More Feedback Machine 2 which is then send into Softtube's Acoustic Feedback which is then send into another IKM Room Reverb. Oscillator A carries this sample in granular mode, sample speed controlled by a LFO controlled envelope. The signal is then processed by a Cloudfilter (control it's Balance with the Modwheel) and an LPF 8 Pole Filter, Filter Cutoff and Resonance controlled by LFO driven envelopes. The Filter resonance is processed by a Waveshaper. The attack time of the Bell is controllable with a Macro, it can also be pitched down an octave with the assigned Macro. Oscillator B runs in Ringod mode, Osc Balance and Mod Pitch are controlled by LFO's. The the signal runs through a Frequency Shifter and an envelope controlled Cloudfilter. Both Channels have Macros assigned to their Volumes. An envevlope controlled Waveshaper in the Master section adds dirt but only comes in after quite a while to boost the long decay phase of the sample. The Cutoff of the LPF -12 dB Filter in the Master section can be controlled with a Macro. The Resonators in the FX section add a huge space, FX Filter Frequency is controlled by a LFO. Check the LFO and envelope page for further Modulation sources and targets.

get it here:
absynthsounds.com

Tuesday, January 26, 2010

new upload: Metawaves

Absynth 5 only - filesize 20,3 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two samples I made with Reaktor's Metaphysical Function processed in Absynth 5. Oscillators A+B carry the same wave, in Channel A it's processed by a Waveshaper and a Supercomb, in Channel B a Cloudfiler does it's work. The Volume of Channels A+B are assigned to the Modwheel, B is inverted so you will hear the waveshaped wave of Channel A when the Modwheel is fully up and Channel B with the Modwheel down. Channel C carries the second sample processed by an envelope controlled Allpass FIlter and a Cloudfilter with quantized grains. The Balance of the Cloudfilter is also assigned to the Modwheel. A LPF 8 Pole Filter in the Master section can be controlled via the assigned Macros for Cutoff and Resonance. The wavemorphed Ringmodulator in the Master section also has two Macros assigned, one for Pitch and one for Balance. The Pitch parameter of the Aetherizer in the Master section is controlled by a slow LFO adding these spooky glissandi to the patch. Three Macros are assigned to the FX section. Check the LFO and envelope page for further Modulation sources and targets.

get it here:
absynthsounds.com

Saturday, January 23, 2010

new upload: Warm Windpad

Absynth 5 only - filesize 1,2 MB - zip folder contains the ksd and one sample (mono/wav/48khz/24 Bit)
Oscillator A carries a melodic phrase I played on my Soprano sax. Set to granular mode it plays back ten times slower than the original recording so you hear the first note of the phrase for a long time. If you're patient enough you'll hear the rest of the phrase. This is processed by a Supercomb Filter with a lot of Feedback which is modulated by a morphing Frequency Shifter and then run through a LPF 8 Pole. Channel B uses a FM wave with two modified waves, FM Index controlled by an envelope, Osc Mod Morph controlled by a LFO. A LPF 8 Pole and a Cloudfilter furtherly process the signal. The warmth in this Pad is mainly generated in Channel C running a Double Oscillator processd by a LPF 8 Pole and a Waveshaper. All Channels have their seperate Macros for Volume control. A Cloudfilter and another PLF 8 Pole in the Master section add the final touches, control the Master Cutoff Frequency with the assigned Macro. The Modwheel adds a fast temposynced sawshaped Filter Modulation. A Pipe unit in the FX section adds the neccessary space. This patch is very touch sensitive so the more dynamic you play it the more alive it becomes. Check the LFO and envelope pages for further Modulation sources and targets. Happy padding!

get it here:
absynthsounds.com

Wednesday, January 20, 2010

new upload: Sopranosax Split

Absynth 5 only - filesize 3,7 MB - zip folder contains the ksd and three samples (mono/wav/48khz/24 Bit)
Three samples I played on my Sopranosax split across the Keyboard with some overlapping notes. Channel A carries a sample of the lowest note on the Soprano in normal Sample mode. It is run through a Waveshaper and then fed into a Cloudfilter. Filter Frequency is controlled by a looped envelope slowly sweeping through the formants spectrum. Channel B carries a looped sequence in Granular mode, panning controlled by a looped envelope. Sample Playhead position/speed is controlled by an envelope. You can change the speed of the sequence with the assigned Macro. The sequence is then processed by a LPF 8 pole Filter, Cutoff controlled by a slow LFO. After that a Ringmodulator with a LFO-morphed wave processes the signal, control the Ringmod Balance with the assigned Macro. Channel C also in Granular mode carries a lyrical phrase, the identical notes of the sequence used in Channel B played slowly, you can control the sample speed with the assigned Macro. This is also processed by a LPF 8 Pole filter controlled by Keyboard follow. A Ringmodulator can be activated with the assigned Macro.
A LFO-controlled Cloudfilter in the Master section tuned down an ovtave can be added with the assigned Macro. After that a Supercomb Filter can add nice saturation/distortion to the sound, control it's Balance with the assigned Macro. The Modwheel adds a fast Pitch Modulation to all three sounds. A Multitap Delay adds long delays, control FX amount, Feedback amount and Delay time with the assigned Macros. Check the LFO and Macro page for further Modulation sources and targets.

get it here:
absynthsounds.com

Monday, January 18, 2010

new upload: Mercury Pad

Absynth 5 only - filesize 3,5 KB - zip folder contains the ksd - no samples used
All three Oscillators run in Double mode carrying a Saw_real wave as main and a Saw_filt 1 wave as Modulator, unison set to 2 voices, uni transpose controlled by a LFO. The Balance between the two is determined via velocity and by a slow LFO. The Oscillators are then processed by differently tuned Cloudfilters, Cloudfilter Hz controlled by another LFO and also tweakable with a Macro, Cloudfilter Balance is controllable with the assigned Macro. Cloudfilter Pitch of Channel C is also controllable with a Macro. The signal is then fed into a LPF 8 pole Filter, Filter Cutoff is assigned to the Modwheel, Filter Feedback is processed by a Frequency shifter. Another Cloudfilter in the Master section tuned up an octave adds more shimmer, control the Filter pitch with the assigned Macro. An LFO-controlled Allpass Filter furtherly processes the signal, add Filter Feedback (distortion) with the assigned Macro. The Aetherizer in the FX section can be tuned down an octave with the assigned Macro.

get it here:
absynthsounds.com

Sunday, January 17, 2010

new upload: Asian Bell texture

Absynth 5 only - filesize 12,8 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
So I have this pair of microtuned asian bells (see screenshot below) and made a 3-miced (L-C-R) recording shaking these bells. The same sample is used in all channels, each one processes it differently. Channel A uses a Supercomb with full Feedback, which is processed by a Frequency shifter. Channel B plays back the sample unprocessed and Channel C uses a LFO controlled Combfilter. To get rid of some of the aliasing artefacts the Absynth sample engine produces when transposing samples each channel has a Lowpass Filter and the high frequencies are reduced by assigning the LP cutoff to the keyboard follow function the lower you play the sound. Channels A+B alternate in Volume controlled by looped envelopes, Channel C has the same volume envelope as Channel A. All Channels also have a Macro assigned to their volume. The Cloudfilter in the Master section adds an ethereal shimmer, control it's Balance with the Modwheel. The Master Ringmodulator's Balance and Frequency are controllable with Macros. Resonators in the FX section add a big space. Check the LFO page for further modulation sources and targets.

get it here:
absynthsounds.com

Wednesday, January 13, 2010

new upload: Male vocal drone

Absynth 5 only - filesize 9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A 3-miced (L-C-R) stereo sample of me singing a low D through a cardboard tube treated with Melodyne used in granular mode in Oscillators A+B. Control the sample speed with the assigned Macro. Both channels process the sample with a LFO-controlled Notch Filter, you can also control the Notchfilter's Frequency with the assigned Macro. In Channel A a Frequency shifter furtherly processes the signal. Both channels have Macros assigned to the channel volume. In the Master section a Waveshaper with LFO-controlled wavemorphing and a LPF 4 Pole Filter do their part of the job. To add distortion use the Modwheel assigned to the Waveshaper's Input gain. The Master LP cutoff is also tweakable with a Macro. The Aetherizer adds a huge space tuned an octave down, three Macros are assigned for basic control of the FX section. The attack of the patch can also be controlled with a Macro.

get it here:
absynthsounds.com

Sunday, January 10, 2010

new upload: Ethereal Choir Pad

Absynth 5 only - filesize 10,1 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
The possibilities of Absynth scare me sometimes and at the same time make me feel close to Heaven, wherever that might be...
The recording of a female choir from last year treated with Melodyne DNA so that polyphonic music becomes a constant note and furtherly processed with iZotopes Spectron. That sample played back in granular mode in Osc A, playhead position controlled by a looped envelope, it takes 50 seconds + to scroll through the entire sample, the end part of the envelope is reversing the sample back to the begining. This is then processed with an Allpassfilter, Filter resonance/feedback controlled by an envelope, Cutoff by a LFO. Channel C plays back the same sample an octave higher, control it's volume with the assigned Macro. The Filter Feedback adds strange distortion to the patch, if you want the pure pad sound reduce the Feedback with the assigned Macro. Osc B in Fractalize mode with a morphing Vocal B wave runds through a Supercomb and a velocity controlled Bandpassfilter. In the Master section a Cloudfilter and a Ringmodulator add their share to this patch, the Ringmod Balance can be controlled with the Modwheel. The Aetherizer in the FX section has four Macros assigned for further tweaking. Check the envelope and LFO page for more modulation sources/targets if you want to see what's going on.

get it here:
absynthsounds.com

Saturday, January 9, 2010

new upload: Ambience switcher 01

Absynth 5 only - filesize 5,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Another patch using a sample recorded during my Newyears walk, walking in the snow, a distant fireworks explosion, a cross-country skier passing. Each Oscillator plays back/destroys that sample in granular mode but with different starting points. Temposynced volume envelopes in retrigger mode switch between the three samples. Control the sample speed with the assigned Macro which will result in a pitch change. Add additional temposynced LFO sawshaped amplitude modulation with the assigned Macro. Each Oscillator processes the sample with a LPF 4 pole filter, Filter Feedback treated with a Frequency shifter. Control the Filter Cutoff and Feedback amount with the assigned Macros. The Modwheel controls the Balance of the Cloudfilter in the Master section, Cloudfilter Cutoff is controllable with a Macro. The Waveshaper in the Master section totally overloads the signal and gives that nice Progidiy sound to it. The Aetherizer in the FX section adds a warped space, the grainsize is controlled by a temposynced envelope in retrigger mode.

get it here:
absynthsounds.com

Friday, January 8, 2010

new upload: Dangergliss

Absynth 5 only - filesize 2,4 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two samples I made with a modified version of Reaktor's Skrewell ensemble are used in Osc A+B run in granular mode. They are run through Waveshapers with LFO-controlled wavemorphing and then fed into LFO-controlled Bandpass filters. Control the Filter Cutoff with the assigned Macro and control the volume of each gliss with the assigned Macro. The Modwheel controls the speed of the LFO which is assigned to Oscillator Pitch and Filter Cutoff. Osc C runs in Ringmod mode and produces some kind of alert sound, it's volume controlled by a looped envelope and also a Macro. The pitch of Oscillator C's carrier wave can be controlled with the assigned Macro, the morphing of the modulator wave is driven by a LFO. A Waveshaper and LPF 2 Pole filter in the Master section process the signal further and a Multitap delay in the FX section adds long panned delays.

get it here:
absynthsounds.com

Wednesday, January 6, 2010

new upload: Toothbrushdrone

Absynth 5 only - filesize 11,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
I like the sound of my electric toothbrush as one can produce incredible harmonics with it while brushing teeth. So it was time to sample that. The three-miced (L-C-R) stereo recording was processed with More Feedback Machine 2 and Reaktor 5 and then imported into Absynth.
Osc A and B play back different sections of the sample in granular mode, playhead position and sample speed controlled by looped envelopes. Both Channels then process the sample with an envelope controlled LPF 8 pole filter, Filter feedback is ringmodulated, the Feddback/resonance amount is controlled with the Modwheel. The filter rises when hitting a key, you can control the Cutoff of the FIlter starting point with a Macro to get rid of the rise. LP Cutoff is also conrollable with a Macro. The sample in Channel A is furtherly processed with a Supercomb filter, it's Cutoff controlled by a LFO driven envelope. Control the Supercomb resonance with the assigned Macro. The volume of both channels can beco ntrolled with the assigned Macros. A Waveshaper in the Master section adds some compression and dirt before the signal runs through a Cloudfilter. Control the Cloudfilter's resonance and Filter Cutoff with the assigned Macros. A LFO-controlled Pipe in the FX section adds modulated space. Happy toothbrushing!

get it here:
absynthsounds.com

Saturday, January 2, 2010

new upload: Dark ambience scape

Absynth 5 only - filesize 4,8 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This is the first patch of my Newyears Day walk-series. It processes a sample I recorded while making my Newyears walk in the nearby woods. The sample contains almost nothing and was totally denoised with iZotopes RX denoiser leaving just very few sonic events with strange artefacts like a bird chirping, a man calling his child, a distant car horn.
Osc A plays back the whole sample in granular mode, playhead position controlled by a very slow envelope with various breakpoints. Osc B+C also in granular mode play back fragments of the sample back and forth. All samples are then processed with High- and Lowpass Filters. Control the Cutoff of the Highpass with the assigned Macro. In the Master section a LFO-controlled Ringmodulator adds amplitude modulation, control it's Balance with the Modwheel. The Combfilter in the Master section makes the whole patch very spooky, control it's Resonance with the assigned Macro, turning down the resonance makes the patch sound more natural. The Aetherizer in the FX section can be tuned up an octave. This patch can create extremely deep rumbling subwoofer sounds, so watch your speakers and get a great subwoofer (I reccomend ADAM Sub 12) to really enjoy this.

get it here:
absynthsounds.com

Friday, January 1, 2010

To do list

Just a list of Absynth patches I want to finish/invent in the near future:

*Mouthbubble sequence - I recorded some bubbly sounds with my mouth very near to my U87 and made a complex temposynced sequence out of it using Sample jumps, the patch just needs some final touches and Macro assignments
*On Newyears day I took a long walk through the nearby woods with my field recorder, it's been snowing heavily and I captured some brilliant steps in the deep snow. I think these can be made into great soundscapes and rhythmical sequences.
*Dangergliss - a scifi sound derived from a Reaktor 5 sample which has been sitting in my todo folder for ages, still not satisfied with it but will finish it soon.
*Patches with processed soprano sax samples
*Patches with female vocal samples
*Some heavy and brutal sequencer patches
*Processed electric guitar patches

The next months are full of work, film music, radio play, workshops - but whenever I get to it (mostly at night or very early in the morning) I will feed my website with fresh sounds. More and more people are donating now since I changed the donation scheme, so it does actually work and I don't have to turn absynthsounds.com into an Online store.

new upload: Vowel Choir Pad

Absynth 5 only - filesize 21,6 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two choir samples which I recorded last year played back in granular mode, split over the Keyboard range. Osc A carries a tenor sample, Osc C a soprano sample, split point is around C4. Control the sample speed with the assigned Macro. The tenors are run through a LPF 4 pole Filter with feedback resonance processed by a Frequency Shifter, wavemorphing controlled by a LFO and then routed into a quantized Cloudfilter set to vowel mode, the vowels are controlled by a temposynced step envelope in Retrigger mode. The sopranos are run through a LFO controlled Allpassfilter. Osc B in FM mode carries a selfdrawn wave as the carrier and a Vocal A waveform as Modulator run through a Bandpass Filter, Cutoff controlled by an envelope, control the envelope speed with the assigned Macro. Unison detune of Osc B is controlled with a LFO, a Cloudfilter adds more detuned space. In the Master section you find a Supercombfilter, Filter feedback processed by a Waveshaper, the position parameter controlled by a LFO and it's overall Balance controlled with the Modwheel. By default the Comb adds syntheticness an octave higher, pitch it down an octave with the assigned Macro and change it's attack with the assigned Macro. To control the lower frequencies generated by the Supercomb when playing upper registers a Highpass Filer is active in the Master section 2. The Resonators in the FX section have four Macros assigned, the FX Filter Frequency is controlled with a LFO. Happy padding folks!

get it here:
absynthsounds.com