tag:blogger.com,1999:blog-26969671256311584642024-03-06T05:06:54.460+01:00absynthsounds.comSounds by Simon Stockhausen for the legendary Software synth Absynth (Native Instruments)Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.comBlogger136125tag:blogger.com,1999:blog-2696967125631158464.post-84217833720487797172012-06-14T17:18:00.001+02:002012-06-16T08:52:36.567+02:00Two new patches uploaded<div dir="ltr" style="text-align: left;" trbidi="on">
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There are 2 new patches online on absynthsounds.com:<br />
<b>Fear no more</b><br />
and<br />
<b>Night Thoughts</b><br />
<br />
All subscribers can <a href="http://www.absynthsounds.com" target="_blank">grab them here</a>.<br />
<br />
This demo combines both patches:<br />
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<iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F49675564&auto_play=false&show_artwork=false&color=5184fb" width="100%"></iframe>
</div>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-76949836566517296092012-05-18T09:17:00.000+02:002012-05-18T09:17:11.820+02:00New upload: Need a Sequence?<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif; font-size: 14px;">The Oscillators in both channels run in FM mode, their pitches controlled by a temposynced step sequence in Retrigger mode. Macro 5 controls the amount of FM modulation in both channels. Macro 6 tunes the Modulators up 2 octaves, their waveforms are being morphed by a temposynced LFO. Both channels have a waveshaper and a Lowpass Filter applied, the LFO-controlled waveform morphing of the Waveshaper in Channels 2 is controllable with Macro 4, the Cutoff of the LPs are assigned to Macro 7 and you can add frequency-shifted Filter Feedback with Macro 8. The volume of Channel B is controllable with Macro 3, Macros 1+2 control the panning positions of the temposynced panning-envelope for Channel A. The balance of the Cloudfilter in the Master section is controllable with Macro 12, Macros 9-11 are assigned to the Resonators in the FX section. The Modwheel detunes both Oscillators. Check the LFO and envelope pages for further modulation sources and targets.<br />The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).</span><br />
<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><br /></span><br />
<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif; font-size: 14px;"><a href="http://absynthsounds.com/" target="_blank">Grab it here</a></span></div>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com1tag:blogger.com,1999:blog-2696967125631158464.post-20902116465877900972012-05-17T09:51:00.001+02:002012-05-17T09:51:26.303+02:00New upload: Dreamish<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif; font-size: 14px;">Channel A plays a sample in Granular mode made by convoluting water sounds in Metasynth, processed by a LFO-controlled Allpass and a Supercomb. Add LFO-modulated Filter Feedback with Macro 5, turn up the resonance of the Combfilter with Macro 6 and add pitch modulation to the Comb with Macro 2. The sample playhead position is envelope-controlled, speed up the envelope with Macro 1. The Modwheel adds detune to the grains of Oscillator A. Channel 2 has the Oscillator running in Fractalize mode using a resynthed Chromazone sample as it's waveform. It is processed by a Cloudfilter and a LPF 4 Pole, control the LPF Cutoff with Macro 7. Channel C adds a more basic sound with a tuned Bandpass Filter for adding some body and warmth to the patch. The volumes of Channels B+C are assigned to Macros 3+4. The Cutoff of the Highpass FIlter in the Master section is controllable with Macro 8. Macros 9-12 are assigned to the Aetherizer in the FX section. Please check the LFO and envelope pages for modulation sources and targets.<br />The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).</span><br /><iframe width="100%" height="166" scrolling="no" frameborder="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F46658851&auto_play=false&show_artwork=false&color=5184fb"></iframe>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-size: 14px;"><br /></span></span></div>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-49868307300452191132012-04-16T14:11:00.000+02:002012-04-16T14:11:57.741+02:00new uploads: Horn meets Sax and TransmissionsAnd two more patches are online now:<br />
<b>Horn meets Sax</b> - Church Instruments<br />
<b>Transmissions</b> - Futuristic Soundscape<br />
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<a href="http://soundcloud.com/sampleconstruct/horn-meets-sax-absynth-demo">Here</a> is a demo for Horn meets Sax.Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-65048731017368880152012-04-16T08:17:00.000+02:002012-04-16T08:17:20.300+02:00new uploads: Book of Thoughts and Grunge SynthThere are 2 new patches available on absynthsounds.com today:<br />
Book of Thought - Dark Spookyness<br />
Grunge Synth - Big grungy synth<br />
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<a href="http://absynthsounds.com/">grab'em here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-5341776286083527902012-03-28T15:19:00.000+02:002012-03-28T15:19:00.496+02:00new upload: Could be a PadChannels A+B panned hard left/right use a self drawn waveform processed by a Bandpass in key follow mode and a Cloudfilter. The Cloud in Channel B is tuned up an octave. The volumes of Channels A+B are assigned to Macro 3. Channel C in Single mode is processed by a LP Filter, it's resonance modulated by a Frequency Shifter and a LFO-controlled Waveshaper in module C2. Control the Input Gain of the Waveshaper with Macro 5 and the volume of Channel C with Macro 4. In the Master section there is a LPF 4 Pole Filter, control the Cutoff with Macro 6, frequency shifter-modulated feedback with Macro 7 and the frequency of the shifter with Macro 8. With the Macro 8 slider in hard right position it's tuned to a fourth below the main pitch. The Modwheel adds pitchmod to all Channels. The Aetherizer in the FX section has Macros 9-11 assigned, tune up the Grain Cloud an octave with Macro 11. Please check the LFO and envelope pages for more modulation sources and targets.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/could-be-a-pad-absynth-5-demo">Demo</a><br />
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<a href="http://absynthsounds.com/">Grab it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-84316366307364054072012-03-07T13:59:00.000+01:002012-03-07T13:59:57.502+01:00new upload: Scrape ScapeThis patch contains 2 versions: <br />
Scrape Scape 1 (org): The sample of scraping on the edge of a Tamtam with a metal stick is used in Channel A (Sample mode) processed by a tuned Supercomb Filter and a LPF 2 Pole Filter. Control the Comb Feedback with Macro 6 and the Resonance of the LPF with Macro 5. Channel 2 adds a selfdrawn synthetic wave in Fractalize mode run through a Bandpass and a Cloudfilter. Channel C uses another Tamtam sample, irregular hits with a metal stick. It runs in Granular mode, control the sample speed with Macro 1. It is also processed by a tuned Combfilter (Macro 7 for Feedback) and a LPF (Macro 8 for Cutoff). The Ringmodulator in the Master section has a x/y-pad assigned for balance and pitch, vibrato can be added to the Combfilters with the Modwheel and Macro 14 controls the Cutoff of the LPF in the Master section. Macros 2-4 control the individual channel volumes. In the upper regions of this patch weird resonances occur. Check the LFO and envelopes pages for modulation sources and targets.<br />
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Scrape Scape 2 (var): This patch uses only the scrape sample in Channels A and B, B is tuned down an octave, The Modwheel controls the Balance of the Cloudfilters which add a fixed tonal texture to the sound by tuning the Filter Grains to Dom7, In Channel A there is also an Allpass Filter (Macro 6 for Resonance and Macro 1 for FIltermod speed). The resonance of the LPF Filter in the Master section is modulated by a Frequency Shifter, Macro 5 controls the FS speed. High FS speeds with the Modwheel fully up yield interesting results.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/scrape-scapes-absynth-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-26088898601713429492012-02-17T08:26:00.000+01:002012-02-17T08:26:15.154+01:00new upload: New Age BirdsA virtuosic bird I recorded during summer some years ago is singing in Channel 2 in Granular mode, processed by a Bandpass Filter with key follow. Control it's volume with Macro 3 and the sample speed with with Macro 4, add Filter modulation with Macro 8 and control the Modspeed with Macro 12. I resynthed that bird in Metasynth and played back the resynthed audio with some Flagolet guitar samples (from my soundset Warped Strings for Alchemy) tuning the resynthed data to a customized pitch scale and then filtering it with a crazy picture file. That resynthed texure plays in Channel A, control the Highpass Cutoff with Macro 5, Filter Cloud Balance with Macro 6 and Filter Mod speed (LFO controlled Bandpass) with Macro 7. Sample speed for Channel 1 is controllable with Macro 2. The grain size for both samples can be tweaked with Macro 1, the Modwheel adds random pitch modulation to the grains of both samples. With Macro 14 you can control the Master Lowpass Cutoff. The Pipe FX in the FX section has Macros 9-11 assigned.<br />
Check the LFO page for further modulation sources and targets.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/new-age-birds-absynth-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-16661580100519104072012-01-09T13:48:00.001+01:002012-01-09T13:49:09.370+01:00new upload: Hypno PannerIn this rather hypnotic patch the amplitudes of all Oscillators are controlled by a temposynced envelopes. Oscillator A runs in Double mode, the Waveform in the Mod Tab is modulated/morphed by a LFO. A Cloudfilter and a LPF 4 Pole Filter process the signal, you can tune the Cloudfilter up an octave with Macro 5 and control the LP Cutoff wih Macro 4. The Modwheel controls the balance bewteen the Main and the Mod wave. Macro 1 controls the range (+1 octave) of a temposynced pitch envelope. Oscillator B runs in FM mode and has a temposynced envelope assigned to it's panning. Control the pitch of the Modulator wave with Macro 7. An Allpass Filter processes the signal. Oscillator C also runs in FM mode with envelope-controlled panning and a LPF 4 Pole Filter with LFO-controlled waveshaped Filter Feedback. In the Master section a LPF 2 Pole Filter let's you reduce the overall Cutoff with Macro 8. The Aetherizer in the FX section has Macros 9-11 assigned. There is a lot of wave-morphing going on in this patch, please check the LFO and enevelope pages for further modulation sources and targets.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
Here is a little video with automating Hypno Panner in Logic:<br />
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<iframe width="560" height="315" src="http://www.youtube.com/embed/NwMyaEluGVw" frameborder="0" allowfullscreen></iframe>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-53204043103962255952012-01-06T13:47:00.000+01:002012-01-06T13:47:04.281+01:00Absynth Tutorial 1: Granular WorxAs this is one of the most frequently asked questions, here is a tutorial video about controlling sample playhead position/speed in Granular mode with envelopes.<br />
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<iframe width="560" height="315" src="http://www.youtube.com/embed/o-QBE1gBQIM" frameborder="0" allowfullscreen></iframe>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-13825726700627140642012-01-06T09:36:00.001+01:002012-01-06T09:37:02.541+01:00new upload: RainingChannels A+B both carry the same sample in Granular mode, a mysterious texture I made with Metasynth. In Channel A this sound is processed by a LFO-controlled Frequency Shifter, in Channel B the sample is tuned up an octave, sample playhead position/speed is controlled by looped envelopes, control the envelope's speed with Macro 2 and add pitch randomization to the sample grains with Macro 5. In Channel C there is an Oscillator in Sync Granular mode processed by a LPF 4 Pole Filter. Add LFO-controlled Filter modulation and resonance with Macro 14 and Pitch modulation with the Modwheel (Macro 13). In the Master section there is a LFO-morphed Waveshaper and a Cloudfilter with an envelope controlling the Filter Cutoff. Control the Cloudfilter Balance with Macro 5 and the speed of the envelope with Macro 1. The speed of the Waveshaper morphing and the morphing of the Frequency Shifter in module A2 is controllable with Macro 7, the Input Gain of the Waveshaper can be controlled with Macro 8. The Aetherizer in the FX section has Macros 9-12 assigned. Please check the envelope and LFO pages for further modulation sources and targets.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
There is a vid on youtube displaying the automation of this patch.<br />
<br />
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<iframe width="480" height="360" src="http://www.youtube.com/embed/j_x7XHKiko8" frameborder="0" allowfullscreen></iframe>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-15975882530667387112012-01-05T18:10:00.000+01:002012-01-05T18:10:37.039+01:001st video attemptMy first shitty video of an automated Absynth 5 patch I finished today - I decided to get into tutorials a bit, my video skills are not there yet :) - but the sound is alright<br />
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<iframe width="480" height="360" src="http://www.youtube.com/embed/j_x7XHKiko8" frameborder="0" allowfullscreen></iframe>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-79250879226092874352012-01-05T14:55:00.000+01:002012-01-05T14:55:55.307+01:00new upload: SpaceQuencerOscillator A carries a sample I made by processing the sample of a Tam Tam (Gong) played with a Rubberball in Paulstretch, changing the harmonic content, stretching and binauralizing it. A temposynced envelope sequence assigned to the amplitude can be activated by turning Macro 1 downwards. The Resonance/Feedback of the Allpass Filter in Module A1 is processed by a Frequency Shifter controlled by the same envelope sequence which also controls the pitch of Oscillator B. Macro 5 controls the Filter Resonance so turning it up will make that sequence audible. A LFO-controlled, temposynced pitch modulation can be added to Osc A with Macro 6. Oscillator B has a 2-bar temposynced pitch sequence running, the amplitude is controlled by a temposynced LFO. The Cutoff of the LPF 4 Pole Filter in B2 is controllable with Macro 7 and ringmodulated Filter Feedback can be added with Macro 8. A Waveshaper in the Master section adds some edge and the Balance of the envelope-controlled Cloudfilter in the Master section is assigned to the Modwheel. In the FX section a temposynced Multitap Delay adds some spaciousness (Macros 9+10). Macros 3+4 are assigned to the Channel Volumes of A+B. Please check the envelope and LFO pages for further modulation sources and targets.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/spacequencer-absynth-5-demo">Demo</a><br />
<a href="http://www.absynthsounds.com/">get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-44317236765929164972011-12-29T11:25:00.000+01:002011-12-29T11:25:05.369+01:00new upload: In the RingChannel 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.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://www.absynthsounds.com/">get t here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-63110213216583871062011-12-28T11:43:00.000+01:002011-12-28T11:43:39.898+01:00new upload: Doctrine of CalmnessOscillators 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.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/doctrine-of-calmness-absynth-5">Demo</a> <br />
<a href="http://absynthsounds.com/">get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-56946430632081314792011-12-14T20:14:00.000+01:002011-12-14T20:14:01.460+01:00new upload: Abyssal Moaning ScapeOscillator A set to Granular mode carries a sample I made during the recordings for my Alchemy Bank <a href="http://www.patchpool.de/new/alchemistry_metallurgy.html">Metallurgy</a>, 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.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://www.absynthsounds.com/">get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-40140046651639067922011-11-18T18:16:00.000+01:002011-11-18T18:16:29.681+01:00new upload: WonderlandA 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.<br />
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.<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/wonderland-absynth-demo">Demo</a><br />
<a href="http://absynthsounds.com/">get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-80711163179049174082011-11-01T18:13:00.000+01:002011-11-01T18:13:44.597+01:00new upload: Fairy Tale PadOscillators 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.<br />
The download folder contains the 2 samples and two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://absynthsounds.com/">get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com2tag:blogger.com,1999:blog-2696967125631158464.post-52227847193358784692011-10-20T13:19:00.000+02:002011-10-20T13:19:40.898+02:00new upload: Space DelightThis 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.<br />
The download folder contains the 3 samples and two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
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<a href="http://soundcloud.com/sampleconstruct/space-delight-absynth-5-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-66850030780285054722011-10-10T19:19:00.000+02:002011-10-10T19:19:28.061+02:00new upload: AaltolotChannels 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.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
<br />
<a href="http://soundcloud.com/sampleconstruct/aaltolot-absynth-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-18297702292648869812011-10-08T09:15:00.000+02:002011-10-08T09:15:00.508+02:00new upload: InterZoneA 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.<br />
The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).<br />
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<a href="http://www.absynthsounds.com/">Get it here</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-4984347402671637382011-09-16T16:17:00.002+02:002011-09-16T16:17:45.551+02:00new upload: Metal ThunderOscillators 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.<br />
The downloaded folder contains 2 patch formats: .ksd (old Absynth) and .nab (new Absynth)Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-9826960664509439572011-08-28T12:33:00.000+02:002011-08-28T12:33:50.748+02:00new upload: Bell DroneThe 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.<br />
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<a href="http://soundcloud.com/sampleconstruct/bell-drone-absynth-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-37698584595441973382011-08-28T11:12:00.000+02:002011-08-28T11:12:13.095+02:00new upload: Big Sci-Fi OrganAll 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.<br />
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<a href="http://soundcloud.com/sampleconstruct/big-sci-fi-organ-absynth-demo">Demo</a>Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0tag:blogger.com,1999:blog-2696967125631158464.post-43689160387955871212011-08-26T20:06:00.000+02:002011-08-26T20:06:32.657+02:00quick tutorial for using envelopes for sample playhead controlThis is the FAQ most often asked and many Absynth users don't seem to know about his feature:<br />
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Start from scratch - File->New Sound->set the Oscillator to Granular->select a sample->set start point to 100<br />
click on the MOD tab->set time to 0%<br />
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Back to the Main tab->right click on "Start"->dropdown menue opens->at the bottom "Create new envelope" which will automatically take you to the new envelope display<br />
Now draw your envelope, if you want it to temposync choose "Retrigger" mode and change view to "grid"<br />
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Note that you have more parameters in the oscillator's Mod tab for altering the sound, like RFreq for detuning fun, RTime for randomization of the grains timewise and RAmp for random amplitude modulation.Simon Stockhausenhttp://www.blogger.com/profile/08645067536153827437noreply@blogger.com0