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
get it here:
absynthsounds.com
Sunday, May 30, 2010
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
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:
absynthsounds.com
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:
absynthsounds.com
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:
absynthsounds.com
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:
absynthsounds.com
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
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:
absynthsounds.com
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:
absynthsounds.com
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