new upload: In the Ring

Channel A uses a sample I made by processing one of my Alchemy patches with GRM Tool's Evolution and Shuffler Plug-Ins. It runs in normal Sampler mode (looped) and is processed by an evelope-controlled Notch Filter. Turn up the Filter Resonance with Macro 1 and control the envelope speed with Macro 2. Channels B+C run in Ringmod mode, each Channel panned to one side, a LFO controlled Lowpass Filter and a Cloudfilter process the signals in each Channel. Control the Filtermod speed with Macro 12 and the Cloudfilter Balance with Macro 8. The Ringmodulator in the Master section has a x/y-control (Macros 5/6), the x-axis for the RM Balance and the y-axis for the RM pitch. The Input Gain of the Waveshaper in the Master section is controllable with Macro 7. The Modwheel controls the depth of LFO 3 assigned to various paramaters, LFO speed is assigned to Macro 14 (below the Modwheel Macro). The Pipe FX in the FX section is controllable with Macros 9-11, the Master time is modulated by LFO1. Please check the envelope and LFO pages for further modulation sources and targets.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).

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new upload: Doctrine of Calmness

Oscillators A and B both carry a soundscape produced by processing a Thai Gong sample I made for my soundset Alchemistry Metallurgy in Metasynth. Each Oscillator plays a different segment of that sample in Granular mode, sample playhead position controlled by a looped envelope (back and forth). You can speed up the envelopes with Macros 1+2. The samples are processed by Allpass Filters, control the Filter Resonance with Macro 5 and the Frequency Shift of the Filter Resonance with Macro 6. The Cutoff of the Highpass Filters in A2/B2 is controllable with Macro 15. Channel C adds a synthetic sound created by a Fractalize Oscillator processed by a Cloudfilter and a LPF 4 Pole Filter. In the Master section a Waveshaper adds some edge and a Supercomb FIlter can be made audible by turning up the Resonance with Macro 7, tune the Filter down 2 octaves with Macro 8. The Aetherizer in the FX section is controllable with Macros 9-12. The Pitchwheel (Macro 13) adds LFO-driven pitch modulation, LFO speed is controllable with Macro 14. Macros 3+4 are assigned to the Channel's overall volumes (A+B/C). Please check the LFO and envelope pages for modulation sources and targets.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).

Demo
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new upload: Abyssal Moaning Scape

Oscillator A set to Granular mode carries a sample I made during the recordings for my Alchemy Bank Metallurgy, rubbing a small rubberball on the surface of a Tam Tam (Gong). Sample playhead position is controlled by a looped envelope so the sample loops back and forth. You can tune the gong sound up an octave with Macro 1. The amplitude of Oscillator A controls the modulation Oscillator in Channel 2 which runs in FM mode and is processed b a Cloudfilter and a LPF 2 Pole Filter. Channel adds a padish sawtooth sound processed y a LP Filter, control the LP Cutoff with Macro 5. Each channel has a volume control (Macros 2-4). The Waveshaper in the Master section adds a bit of edge, control it's input gain with Macro 8. The Highpass Filter in the Master section is controllable with Macros 6+7 (Cutoff+Resonance). The Aetherizer in the FX section has Macros 9-12 assigned, tune it up an octave with Macro 11 and detune it with Macro 12. The Modwheel adds unison detune to Oscillator C and grain pitch randomization to Oscillator A. Please check the envelope and LFO pages for modulation sources and targets.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).

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new upload: Wonderland

A long Soundscape I made by processing some of my Glockenspiel playing with Granite and various GRM Tools is used in Channels A+C in Sampler mode. Channels A processes this sample with a Cloudfilter and a tuned Comb Filter with key follow, control the Cloud Balance with Macro 6 and the Comb Resonance with Macro 6. Channel C plays the pure Soundscape only processed by a velocity sensitive Lowpass. Channel B in Sync Granular mode adds a paddy sound processed by a Bandpass Filter. Control the Bandpass Cutoff with Macro 3 and add temposynced LFO-modulation with Macro 4. Each channel has it's dedicated Macro for volume control (1/2/8). A Lowpass Filter in the Master section is controlable with Macro 5. The Modwheel adds a random LFO-pitch modulation to the bell sounds. The Aetherizer in the FX section can be controlled with Macros 9-11.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth). On the Attributes page of the patch you'll find this description embedded.

Demo
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new upload: Fairy Tale Pad

Oscillators A+B use 2 samples I made by recording a fragment of a bunch of buskers in the streets of Munich and then stretching those fragments to the extreme with Paulstretch. Channel A runs in Sampler mode and processes the sample with an LFO-controlled Allpass Filter, control the Filter Resonance with Macro 5. Channel B running in Granular mode uses a Bandpass Filter, control the Bandpass Bandwith with Macro 6. Channel C runs in FM mode using a selfdrawn waveform processed by a Lowpass and a Cloudfilter. Control the Cloud Balance with Macro 7 and the Cloud Filter Hz with Macro 8. Each Channel has a Macro for volume control (2-4), the Waveshaper in the Master section can be controlled with Macro 1 to add saturation and the Cutoff of the Lowpass FIlter in the Master section is controllable with Macro 14. The Modwheel adds a strange pitch modulation. The Pipe FX in the FX section is controllable with Macros 9-12. Please check the envelope and LFO pages for modulation sources and targets.
The download folder contains the 2 samples and two patch formats: ksd (old Absynth) and nab (new Absynth).

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new upload: Space Delight

This patch uses 3 samples/electronic textures I produced with an array of Plug-Ins via a very convoluted procedure. All Oscillators run in Granular mode, sample playhead position controlled by looped envelopes. You can speed up the samples drastically by turning Macro 1 towards the left and determine the volume of each channel with Macros 2-4. The Modwheel will add random pitch modulation to the sample grains. Each sample is processed by a Highpassfilter, Cutoff Frequency modulated by a looped envelope. You can control the Filter Resonance with Macro 5, the depth of the modulation with Macro 6 and the envelope speed with Macro 7. The tuned Supercomb Filter in the Master section can make things more tonal by turning up the Feedback with Macro 8. You can modulate the Comb's Frequency with Macro 14, add a temposynced Frequency shifter with Macro 12 and phasinglike tone modulation with Macro 11. The Aetherizer adds a huge modulated space, controls for wet and dry are available (Macros 9/10). Please check the envelope and LFO pages for further modulation sources and targets.
The download folder contains the 3 samples and two patch formats: ksd (old Absynth) and nab (new Absynth).

Demo

new upload: Aaltolot

Channels A+B run in Granular mode and use a sample I made with the moody Aalotlot synth and various FX processors. The sample playhead position/speed is controlled by looped enevelopes, you can speed up those envelopes with Macros 1+2. In Channel B the signal is processed furtherly by a Supercomb Filter and a Waveshaper, control the Comb's Resonance with Macro 5 and the Balance of the requency shifted feedback-modulation with Macro 6. Channel C runs in FM mode and adds a tonal/tuned synthetic wave. You can control the Balance of the Cloud Filter which is active in the Master section with Macro 7 and shift it's pitch with Macro 12. The Modwheel detunes the sample grains and each channels has it's individual volume control (Macros 3/4/8). In the FX section there is pitch-shifting Pipe FX happening, Macros 9-11 control the FX. Take your time with this patch and play looong notes as the envelope of Channels 1 needs time to scroll trough the whole sample, sample speed in Channel B is much faster. Please check the LFO and envelope page for further modulation sources and targets.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).

Demo

new upload: InterZone

A processed field recording recorded in a russian factory is used in Oscillator A running in Granular mode, sample playhead position/speed is controlled by a looped envelope. Oscillators B+C run in FM mode and are intermodulated by the amplitude of this sample via the Audio Mod function, the paremeters affected are unison detune and FM amount. You can add a Combfilter, tune it, add a Cloudfilter with the Modwheel, do some crazy temposynced Modulation and more so please check the Macro page for all the available controls.
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).

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new upload: Metal Thunder

Oscillators A&B play a sample of a giant Thunder Sheet I recorded in a sculpture park. In Channel A (Sampler mode) that sample is processed by a tuned Comb Filter and a LFO-controlled Lowpass, you can tune the Combfilter down an octave with the Modwheel. The Resonance of the LP FIlter is modulated by a Frequency Shifter, control the Filter Reso with Macro 5 and the pitch of the FQ Shifter with Macro 1. In Channel B the sample runs in Granular mode, sample playhead position/speed controlled by a looped envelope, processed by a Notch Filter. Control the Resonance of the Notch with Macro 6. Channel C adds a synthetic wave processed by a LFO-controlled morphing Waveshaper and an Allpass Filter. Control the Allpass Reso with Macro 7, turning it all the way up yields pretty crazy results. The Input/Distortion amount of the the Waveshaper in the Master section can be controlled with Macro 2, Macros 3+4 control the individual volumes of Channels B&C. The Cutoff of the Lowpass FIlter in the Master section is controllable with Macro 8. The Resonator in the FX section has 4 Macros assigned (9-12). Please check the envelope and LFO pages for further modulation sources and targets.
The downloaded folder contains 2 patch formats: .ksd (old Absynth) and .nab (new Absynth)

new upload: Bell Drone

The sample of a huge decaying church bell recorded inside a bell tower in Moscow processed with Zebrify Filters and Sideband Modulation is used in Granular mode in Oscillaotrs A+C, split across the keyboard, split point being C3. Processed by an evelope controlled LPF 8 Pole Filter, it's resonance processed by a Frequency Shifter. Resonance amount is controllable with Macro 5, the pitch of the frequency shifter with Macro 6. Oscillator 2 adds a synthetic sound, processed by a tuneable Cloud Filter (Macro 7), the Oscillator's unison random transposition is controllable with Macro 8. Macros 3+4 control the individual channel volumes. Macro 1 brings in a temposynced Ringmodulation sequence and Macro 2 adds waveshaper distortion. Macros 9-12 control the Aetherizer in the FX section and Macro 18 controls the Attack time. The Modwheel adds pitch randomization/detune to the granular oscillators. Please check the envelope and LFO pages for more modulation sources and targets.

Demo

new upload: Big Sci-Fi Organ

All 3 Oscillators carry the same selfdrawn waveform, each Oscillator panned differently with Osc 2+3 slightly detuned. There is a Cloudfilter in each Channel, control their Balance with Macro 2, if that Macro is up you can use the Modwheel for detuning/Leslie effects. Each Channel has a LFO-controlled Ringmodulator in the Mod module, control LFO-depth with Macro 4, Ringmod Balance with Macro 8 and temposynced LFO-Ringmod speed with Macro 12. In the Master section you can control the Highpass Frequency with Macro 7, the Lowpass Cutoff with Macro 5 and the Lowpass Resonance distortion with Macro 6. Macro 1 activates a temposynced LFO for amplitude modulation and the Aetherizer in the FX section has Macros 9+10 assigned for Wet Balance and Feedback amount. Please check the LFO and envelope section for further modulation sources and targets.

Demo

quick tutorial for using envelopes for sample playhead control

This is the FAQ most often asked and many Absynth users don't seem to know about his feature:


Start from scratch - File->New Sound->set the Oscillator to Granular->select a sample->set start point to 100
click on the MOD tab->set time to 0%

new upload: Voicegulls

The sample of female vocals sounds processed with crusherX and Aether is used in Channel A+B. Osc A runs in Sampler Mode, the sound is processed by a Waveshaper and a LFO-controlled HP-Filter, you can transpose the sound up an octave with Macro 8. Osc B runs in Granular Mode, you can alter the sample speed with Macro 1. The signal is processed by a Cloudfilter which you can turn up an octave with Macro 7. Osc C runs in Double mode and produces a tremolating sound with clear pitches, processed by a LPF 8 Pole Filter controlled by an envelope and a LFO. Each Channel has a Macro assigned to it's main volume (2-4).
In the Master section there is a Comb Filter, control it's resonance with Macro 5 and the Balance of the Ringmodulator in Master module 2 with Macro 5. The Aetherizer in the FX section has Macro 9-11 assigned, the Modwheel detunes the Aetherizer's pitch. Please check the envelope and LFO pages for further modulation sources and targets.

Demo

new upload: Call Me

Channel A uses a female vocal sample I made for my Sound Bank Alchemistry Beyond. Set to Granular mode you can alter the Grain size with Macro 1. When the slider is turned towards the left this will result in a ringmod-like sound with a strange pitch-following behaviour, turned to the right in a warmer vocal-like sound with clear pitches. The sample is not looped and will stop playing after a while. A Cloudfilter and a Lowpass Filter process the signal, control the Cloudfilter's Balance with Macro 2, the Filter Q with Macro 5 and the Filter Transpose with Macro 6. Channel B adds a ringmodulated synthetic sound with a sweeping Bandpass filter. In the Master section a LFO-controlled Allpass Filter processes the signal furtherly, control the Filter Resonance with Macro 7 and the Resonance distortion with Macro 8. Macros 9-12 control the Aetherizer in the FX section and Macro 14 let's you control the Lowpwpass Cutoff of the LP Filter in the Master section. Macros 3+4 are for individual volume control of each channel and the Modwheel adds plenty of detune. Please check the envelope and LFO page for further modulation sources and targets.

Demo

new upload: Epic Voxolin Pad

Two samples made by convoluting bowed violin notes with church a choir sample are used in Channels A+B. They are crossfading so that one covers the lower and the other one the upper half of the range. Both Channels have a LFO-morphing Waveshaper and a LPF 4 Pole Filter applied, Filter Resonance modulated by a LFO-controlled Frequency Shifter. Control the Filter Cutoff with Macro 5 and the waveshaping amount with Macro 6. Channel C adds a LFO-controlled FM sound. A LFO-controlled Notch Filter in the Master section modulates the signal, control the Filter Resonance with Macro 7 and the modulation speed with Macro 8. A Highpass FIlter can be applied with Macro 2. The Aetherizer in the FX section can be tuned up with Macro 12 and and a falling pitch envelope can be activated with the inverted Macro 11, it becomes active when turned towards the left. The inverted Macro 1 activates a temposynced envelope for the dry output, when turned towards the left the envelope becomes active. The Modwheel controls the modulation depth of the detuning in the Aetherizer. Please check the envelope and LFO pages for further modulation sources and targets.

Demo

new upload: Legno Rain

This patch can be a used as a sequencer or as a more textural sound. All Oscillators use a sample I made in Metasynth by resynthing a snippet of one of my current filmscores and then manipulating and assigning the resynthed data to multisampled Violin sounds played in col legno articulation.
Oscilator B plays in temposynced sample jump mode and repeats the percussive attack of the sample every 2 beats run through a tuned Combfilter (Resonance controlled by Macro 5) and a Waveshaper. The Volume of Oscillator A which runs in envelope controlled Granular mode, is controlled by the transients of Osc B via Audio Mod, the sound is processed by a Cloudfilter, Cloud Balance controlled by Macro 7. Osc C in envelope controlled Granular mode also uses a Combfilter and a Cloudflter, Comb Balance controlled by Macro 6, Cloudfilter Balance controlled by Macro 8. A Ringmodulator in the Master section can be added with Macro 14, the Modwheel adds temposynced pitch and filter modulation.
The Grain size of Osc A+C can be changed with Macro 1, each Channels has a Macro for individual Volume Control (Macros 2-4). The Aetherizer adds temposynced goodness controllable with Macros 9-12. Please check the envelope and LFO pages for further modulation sources and targets.
Demo

new upload: Jungle Combs

A 85 second long sample I made with Reaktor's Spark and various FX Plugs is used in Oscillator A set to Granular Mode, sample playhead position/speed controlled by an envelope. Processed by a Waveshaper and LFO-controlled LPF 8 Pole Filter. Oscillator B in Double Mode produces a nervous electronic sound, Volume and Osc Balance are controlled ny a randomized LFO. Each Channel has a Macro assigned for volume control (Macros 1+2). In the Master section the signal hits a Supercomb and a Cloudfilter. Control the Supercomb Resonance with Macro 7 and the Frequency Shifter modulating the Supercomb Filter with Macro 5. Cloudfilter Balance is controllable with Macro 6 and the Filter Frequency with Macro 8. The Tube FX in the FX section can be controlled with Macros 9+10.
Beware: This patch seldomly produces self resonating frequencies which can cause louder outbursts. Check the LFO and envelope pages for further modulation sources and targets.

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Demo

new upload: Morsescape

Channel A carries a sample of a strange glass texture I made with Metasynth processed with a Supercomb and a Cloudfilter and Channel B adds the morse sound produced with a FM Oscillator and a complex LFO routing, where the temposynced speed of the main LFO is modulated by the randomized but also temposynced frequency of another one. Macro 2 controls the overall morse speed. All Macros are assigned on the Performance page, the Modwheel detunes the unison pitch of Osc 2 and also controls the Balance of the Cloudfilter processing the sample in Channel A. Please check the LFO and envelope page to see what's going on. This patch is capable of creating a great variety of sounds as you can hear in the demo.

new upload: Doublemorph Sequence

This patch is not using any samples, all 3 Channels have temposynced envelopes running, lot's of waveshaping and LFO-morphing is going on, Channel C also has 2 step envelopes active for controlling the pitches of the FM Oscillator carrier and modulator. Check out the Macro page and tweak this sequence to your taste and needs.

Demo

new upload: Subway Drone

A sample recorded in a Moscow subway station with arriving subways processed in Metasynth is used in all 3 Channels. Channel A runs in Sampler mode, the signal is processed by a LFO-morphed Waveshaper, Channel volume is controlled by an envelope in (temposynced) retrigger mode. Channel B runs in Granular mode, sample playhead position/speed controlled by a looped envelope and processes the sample with a Cloudfilter, it's Balance controlled by the envelope which also controls the Volume of Channel A (Link mode) and/or with Macro 1. Channel C is a transposed clone of Channel B plus it has a Frequency Shifter active in module C2. Control the Frequency shift with Macro 7 and the Channel Volume with Macro 4. In the Master section a Comb Filter can be added by turning up it's resonance with Macro 5. It's pitch is controlled by a LFO, control the LFO speed with Macro 6, The same LFO also modulates other parameters. A Lowpass Filter is active in the Master Section/Module 2, control it's Cutoff with Macro 8 and it's waveshaped resonance with Macro 12. The Resonators in the FX section can be controlled with Macroe 9-11. The Modwheel adds a temposynced pitch modulation and Macro 14 controls the Volumes of Channels A+B- Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Freezevox

Oscillator A carries a sample I made by doing some overtone singing while testing a new portable recorder. This sample was then processed with GRM Evolution. The result was imported into Metasynth and resynthed/furtherly mangled in the Image Synth, the result is the sample for Channel B. Osc A+B run in Granular mode, sample playhead position and speed controlled by a looped envelope. Macro 1 controls the speed of that envelope, turning it down will increase the speed (and the fun). Osc C carries a custom wave in Sync Granular Mode run through a BPF Filter. All Oscillators are processed by a Ringmodulator, control the Balance with Macro 6 and the RM pitch with Macro 7. The Modwheel controls the Cloudfilter Balance in the Master section, you can also control the Cutoff of the LPF 4 Pole Filter in that section with Macro 5. Macros 2-4 are assigned to the individual Channel volumes. Macros 8+12 are for controlling Pitch modulation and it's speed. The Resonator in the FX section is controllable with Macros 9-11.
Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Master Drone

Channel A carries a sample I made in Metasynth by respectralizing the attack phase of a metal Bowl using a Multi FM Synth. The Oscillator is set to Granular mode, sample speed at 4%, randomize the Grain pitch with Macro 1. This sound is run through a Supercomb filter, control it's waveshaped resonance with Macro 7 and it's pitch with Macro 5. The sample is furtherly processed by a Waveshaper, you can activate a temposynced envelope for the WS Input with Macro 2. Channel B uses a saw wave run through a Lowpass Filter with waveshaped resonance and a Cloudfilter. Control the LP Cutoff with Macro 6 and the Cloudfilter Balance with Macro 8. More waveshaping takes place in the Master section and another velocity sensitive Lowpass Filter smoothes the signal before it hits the Aetherizer which has Macros 9-12 assigned to various parameters. The Modwheel controls a temposynced square-shaped LFO, control the LFO speed with Macro 14 (CC11). Control the individual channel volumes with Macros 3 and 4.
Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: More Light

A sample made with Reaktor and Aether Reverb, processed in Metasynth and then furtherly processed with Shimmer Reverb is used in Channel A running in Granular Mode, sample playhead position and speed controlled by a looped envelope. A Lowpass Filter porcesses that sample, control the Cutoff with Macro 5. Osc 2 runs in FM Mode, the main wave is morphed by a LFO, the FM Modulator carries a resynthed wave imported from another Metasynth sample. A LPF 8 Pole Filter with ringmodulated Feedback processes that wave before it hits a Cloudfilter, control the RM pitch with Macro 6. Osc C runs in Double Mode processed by a Waveshaper and an envelope controlled Bandpass Filter, the envelope's breakpoints are velocity sensitive. In the Master section a Ringmodulator controllable with Macros 8+12 and a Highpass Filter controllable with Macro 7 process the signal furtherly before it reaches the Aetherizer. The dry signal amount is controlled by a temposynced envelope which you can activate by turning Macro 4 all the way down. You can turn the Aetherizer's pitch up 2 octaves with Macro 10 and add some detuning with Macro 11. The individual levels of the different channels are controllable with Macros 1-3, the Modwheel adds pitch modulation. Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Female Meta Vox

A recording of female overtone singing from a recent theatre project processed in Metasynth, stretching the sound and enhancing the spectral movements. Two samples with different methods of processing were made out of this orgonal recording. Osc A holds the less spacious sample, Osc B uses a wider, more stretched sample. Both Oscillators run in Granular mode, control the Sample Speed with Macros 1+2 and the Random Grain Freq with Macros 3+4. Both Channels have a Ringmodulator and a LFO-controlled Notch Filter applied, the Modwheel controls the Notch resonance. Control the Ringmod Balance with Macros 5+7 and the RM pitch with Macros 6+8. A Supercomb in the Master section adds distorterd weirdness, control the weirdness Balance with Macro 11 and it's pitch with Macro 12. A Lowpass Filter (which is also sensitive to velocity) processes the signal furtherly, control the LP Cutoff with Macro 15 and the LP resonance with Macro 16. The Aetherizer in the FX section can be controlled with Macros 9+10.

new upload: Flanged Space

Rich cinematic Soundscape

Osc A carries a sample I made with Metasynth. It is processed by a Highpass Filter, control the HP Cutoff with Macro 5 and it's resonance with Macro 6. A Freq Shifter processes the signal furtherly, control it's Frequency with Macro 7. Osc B in Sync Granular mode carries resynthed waveform created by importing the same sample into Absynth. A LFO-controlled Allpass 8 Filter and a LFO-morphed Freq Shifter process this waveform. Osc C in Double Mode adds a temosynced pulsating wave, processed by a Lowpass Filter and a Ringmodulator. Control the Ringmod Balance with Macro 3 and the RM Pitch with Macro 4. The individual Volumes of Channel B and C can be controlled with Macros 2 and 14. Macro 8 adds a random pitch modulation to Channels B+C. A Waveshaper and a Cloudfilter are active in the Master Section, the Cloudfilter's Balance is controllable with the Modwheel. the Cloud's Random Pitch Modulation with Macro 1. The Resonators in the FX Section have Macros 9-12 assigned. Please check the LFO and envelope pages for further modulation sources and targets.

new upload: Forever Floating

The sample of a Horn player hitting the bell of his instrument transformed into a strange texture with Metasynth is used in Channel A in Granula mode, processed by a LPF Filter, it's Feedback modulated by a Ringmodulator. Determine the sample speed with Macro 2, control the LPF Cutoff with Macro 5 and Filter Feedback/Resonance with Macro 6. Channel B plays a synthetic wave made from another imported Metasynth sample, processed by a Bandpass filter and a Frequency Shifter. Control the Bandpass Resonance with Macro 7 and the pitch of the Freq Shifter with Macro 8. Both Channels have their Volumes assigned to a Macro (3+4). A Notch and a Cloudfilter in the Master section add more flavour to the sound, control the Cloudfilter's Balance with the Modwheel. The speed of all active LFOs is controllable with Macro 1. The Aetherizer in the FX section can be tweaked with Macros 9-12. Please check the envelope and LFO page for further modulation sources and targets.

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new upload: Triplet Synth

This patch is a triplet based sequence good for bass lines and chords. Oscilator A and B run in FM mode, their volumes sequenced with envelopes in retrigger mode, Osc B tuned up an octave with some envelope controlled pitch modulation. The sequence of Osc B is slightly shifted to create offbeats. Both Oscillators are processed with a Waveshaper and a Frequency Shifter. Control the Frequency Shift with Macro 5 which is inverted for Channel B. The volumes of Channel A+B are assigned to Macros 2+3. Channel C, it's volume assigned to the Modwheel, adds a metallic woodpecker-like sequence in double time. In the Master section a Notch and a LPF 8 Pole Filter process the signal furtherly, Macros 6-8 are assigned to Notch Resonance, LPF Cutoff and LPF Resonance. Some temposynced Delays in the FX section are controllable with Macros 9+10. Please check the envelope and LFO page for further modulation sources and targets.

Demo

New scheme on absynthsounds.com

Today I changed the scheme for absynthsounds.com
Instead of an obligatory donation it now runs on an unlimited subscription scheme. For 20 Euros you will get access to 91 currently available Absynth 5 patches as well as all the patches I will create and post in the future. All Absynth 4 patches remain as donationware.
All donators to this date will not be affected by this change in any way.

new upload: Gongsax Spectralscape

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.

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

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.

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
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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