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: 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