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!
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new upload: Crushed Comb Cellos

Absynth 5 only - filesize 20,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Channel A carries a sample I made by totally granulating two cello flagolet samples with crusherX. The Oscillator runs in Granular mode, the sample speed is contollable with Macro 1. It is processed by a LFO-morphed Waveshaper and then by a Comb Filter, control the Comb's feedback with Macro 5. Oscillator B carries a resynthed waveform I made by importing another cello flagolet sound which is processed by an Allpass Filter with enevelope controlled Filter Feedback, this produces a pitch glissando which can be controlled with Macro 2 (turn it up to get rid of the glissando) and a Cloudfilter. In the Master section another Waveshaper and a LPF 4 Pole FIlter process the signal furtherly, the LPF Feedback is modulated by a LFO-morphed Frequency Shifter which you can tune up 3 octaves with Macro 6, control the Filter Feedback with Macro 8. An envelope controlled Aetherizer (Macros 9-11 assigned) in the FX section adds the finishing touches. Both channel volumes are controllable with Macros 3 and 4. The Modwheel adds a pitch modulation to the Combfilter. Please check the LFO and envelope page for further Modulation sources and targets.
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Demo

new upload: Meta Vox

Absynth 5 only - filesize 16,7 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This patch processes a vocal sample I made for my Sound Bank Metaphysical Function Eternity. A one minute long ostinato on B2 sung by my wife Andrea, processed in Melodyne for formant shifting. It plays back in Granular mode, sample playhead controlled by a looped envelope. Velocity will determine the sample start point, the harder you hit the key the later the sample will start. Channel B+C add synthetic voices, please check the Controller page, as there are many ways to tweak this patch around.
Demo
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new upload: Combchimes

Absynth 5 only - filesize 11,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
In this patch a Chime sample from my Kontakt Library Chimeland available on patchpool is processed in Channel A. The Osc is set to Granular mode, sample playhead controlled by a looped envelope. Control the time of the envelope breakpoints/sample speed with Macro 4. The pitch of the Chimes can be controlled with Macro 7. The sample is run through a Supercomb Filter with LFO controlled Feedback and a Cloudfilter, control the Filter Resonance with Macro 5 and the Cloud Balance with the Modwheel. Osc 2 runs in FM mode processed by a HPF and a Lowpassfilter, it's amplitude modulated via the the Audio Mod function by the loudness of the Chime sample. Osc C runs in Ringmod mode processed by LPF and a Cloudfilter. The Lopwpass Cutoff of Channels B+C are controlled by the inverted Modwheel. In the Master section an Allpass 4 Filter and a LPF 8 Pole Filter are processing the texture, control Allpass Cutoff with Macro 8 and Lowpass Cutoff with Macro 6. Macros 9-11 are assigned to the Resonators in the FX section. The individual volume of each channel is controllable with Macros 1-3. Please check the envelope and LFO pages for modulation sources and targets.
Demo
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new upload: Cloud Scape

Absynth 5 only - filesize 19,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This cinematic Soundscape uses a sample I made by sending 2 Soprano Sax phrases into 2 differently tuned Shimmer Reverbs, then processing the Shimmerverbs with crusherX and sending everything into Aether Reverb as well. Channel A carries the sample in Granular mode, sample playhead controlled by a looped envelope. A LFO-driven Notch Filter adds LFO-controlled sweeping to the sample, control Filter Resonance with Macro 6. Osc B in Double Mode is send through a LFO-morphed Frequency Shifter and a Cloudfilter. Control the Cloudfilter's Balance with Macro 5. Channel C also in Double mode adds a fat and warm Bass Drone processed by a Waveshaper and a LPF 8 Pole Filter. Control the Filter Resonance processed by a LFO-controlled Frequency Shifter with Macro 7. A Waveshaper in the Master section glues everything together and a LPF 4 Pole can reduce high frequencies if you tweak Macro 8. The Aetherizer in the FX section can be tuned up an octave with Macro 11. The Modwheel adds a temposynced square wave pitch modulation. The individual volume of each channel is controllable with Macros 1-3.
Demo
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new upload: Metal Space

Absynth 5 only - filesize 23,8 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This patch processes a sample I made from timestretched metal sounds recorded in a workshop in my cellar, actually rummaging around in a box of screws, then isolating a segment of that recording and granulating/timestretching and filtering it in Alchemy. Then sending it through a huge Aether Cloud, then importing that into Kontakt and transposing it down 8 octaves. Channel A carries that sample in Granular mode, sample playhead position controlled by a retriggered envelope. The 90 second sample is played back in 8 beats of the host tempo creating a strange sort of loop. This is then processed by a Highpass and a Cloudfilter, both are envelope controlled. Channel B carries that sample also in Granular mode, sample playhead also controlled by a looped envelope but this time at about the original speed. Channel C in Double mode adds a synthetic sound processed by a Lowpass Filter with Filter Resonance processed by an envelope controlled Frequency Shifter.
In the Master section you'll find a LFO-controlled Waveshaper and a Lowpass Filter, then the signal hits the Aetherizer, random pitch of the FX is controlled by a LFO. Macro 1 controls the attack time, Macros 2-4 control the individual levels of each channel. Macro 5 controls the Cutoff of the Lowpass Filter in the Master section and Macro 6 the Input Gain of the Waveshaper. Macro 9 controls the level of the dry signal and the Modwheel adds random pitch modulation to Channel A+B and changes the frequency of the Mod Oscillator in Channel C. Check the envelope and LFO pages for further modulation sources and targets.

Demo
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new upload: Come and go

Absynth 5 only - filesize 19,7 MB - zip folder contains the ksd and one sample (wav/44.1khz/24 Bit)
A Soprano Sax sample recorded in a church during one of my concerts processed with crusherX is used in Oscillators A+B in normal Sampler mode. Osc C uses a Single Wave which is processed by a Lowpass and a Cloudfilter. The samples are processed by various Filters and a Frequency Shifter in Channel B. Tune the Frequency Shifter with Macro 7 and turn up the waveshaped Resonance of Filter A with the Modwheel. A Supercomb in the Master section and a Highpass Filter process the signal furtherly. Control the Supercomb Resonance with Macro 5 and the HPF Cutoff with Macro 6. The Multitap Delay in the FX section has 3 Macros assigned (9-12). The individual volumes of all channels are adjustable with Macros 1-3. Please check the LFO and envelope pages for Modulation sources and targets.

Demo
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new upload: Halloween Scape

Absynth 5 only - filesize 10,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This patch processes a female vocal sample I made for my theatre music Macbeth, a moaning witch doing some incantation rituals. This sample was processed with the Filter section of Metasynth and then imported into Absynth for further treatment. Osc A carries the witch in Granular mode, control the sample start position with Macro 1 and the sample speed with Macro 4. For random sample pitch modulation tweak Macro 6. Osc B carries an Oscillator in Double mode with 2 selfdrawn waves processed by an LFO-controlled Allpass Filter. Wake the ghouls with the Modwheel assigned to the Allpass Resonance. Both Channels also have a LPF Filter, control the Filter Cutoff with Macro 6, the individual volumes of both channels can be controlled with Macros 2+3. A Ringmodulator and a Cloudfilter are acvtive in the Master section, there is a x/y-pad (Macros 7+8) controlling various parameters of these two modules. The Aetherizer in the FX section can be tweaked with 4 Macros (9-12).

Demo
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new upload: Aviary

Absynth 5 only - filesize 16,3 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A while ago I made some field recordings in a zoo. One of the recordings within an aviary full of Aras and other birds is utilized in this patch. Channel A processes the first half of this sample in Granular mode, sample playhead position is controlled by a looped envelope. Channel B processes the second half of the sample also in envelope-controlled Granular mode. Both channels use Cloudfilters, control the Cloud Balance with the Modwheel and the Cloud Resonance with Macro 5. Channel B additionally uses a Supercomb to add a vocoderlike texture which you will only hear if you turn up Macro 6 which controls the Comb's Resonance. You can also pitch the Supercomb down by an octave with Macro 7. Channel C uses an Oscillator in Fractalize mode with a self drawn wave, also processed by a Cloudfilter and a LPF 8 Pole Filter where the Cutoff is controlled by the volume of Channel A via the Audio Mod feature. A Ringmodulator and an Allpass Filter in the Master section process the signal furtherly before it hits the Aetherizer in the FX department. Control the Ringmod Balance with Macro 4 and the Allpass Resonance with Macro 8. The Aetherizer has 4 Macros assigned (9-12). The volume of each Channel can also be controlled with Macros 1-3. Please check the LFO and envelope page for more Modulation sources and targets.

Demo
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new upload: Tunnelbirds

Absynth 5 only - filesize 31,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit) This patch processes a Soundscape I made from processed warning signals recorded in a Tokyo Subway station in 2005 during my Trip to Asia adventure. Channels A+B both play back the sample in Granular mode, sample playhead position/speed is controlled by a looped envelope, control the sample speed with Macro 1 and sample attack time with Macro 2. Channel A processes the sample using a LFO-controlled Notch FIlter and a Frquency shifter, control the Feedback of the Frequency Shifter with Macro 5. Channel B uses a LFO-controlled Allpass 8-Filter and a Cloudfilter, control the Cloud Balance with Macro 6. The Modwheel adds Grain pitch randomization for both Channels. Channel C in FM mode processed with a Cloud- and Lowpass Filter adds a padlike texture, control volume of Channel C with Macro 4. Another Allpass in the Master section with envelope- and LFO-controlled ringmodulated Feedback and a LPF 4 Pole Filter process the signal furtherly before it hits the Resonator in the FX section, control Cutoff of the Lowpass Filter with Macro 7. Please check the LFO- and envelope page for further modulation sources and targets.

Demo
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new upload: Pot Percussion Sequence

Absynth 5 only - filesize 717,6 KB - zip folder contains the ksd and three samples (wav/48khz/24 Bit/mono)
This special patch processes 3 sampled I made for my Kontakt patches Pot percussion. Hitting a steel cooking pot with a wooden spoon in different velocities. All samples run in Granular mode, sample playhead position/speed and Grainsize are sequenced with 3 temposynced envelopes in Retrigger mode (see screenshot). Alter the Grainsize with Macro 1, add Random Grain Pitch with the Modwheel and bring in a sort of Reverse effect for Chanels B and C with Macro 2. All Channels use a Ringmodulator and a Cloudfilter for processing. Control Ringmod Balance and Pitch with Macros 5/6 Cloudfilter Balance with Macro 7. In the Master section you'll find a Supercomb Filter, Filter Feedback processed by a Frequency Shifter. Control the Supercomb Balance with Macro 8. A LPF 8 Pole Filter processes the signal furtherly before it hits the Aetherizer. Control LPF Cutoff with Macro 3 and the ringmodulated Filter Resonance with Macro 4. Macros 9-12 give you control over the Aetherizer's Wet Balance, Gran Rate, Gran Feedback and Gran Transpose. This patch can be anything from a beautiful gamelanish bell sound to a totally chaotic evil rhythm machine. Have fun!
Demo

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new upload: Pulsefy

Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
A lot of temposynced Wavemorphing and panning is going on in this patch. Check the modules and enevlopes for details. This patch is very velocity sensitive concerning the timbre. Control Attack/Decay with Macros 1+2, Master LP Cutoff with Macro 5, Filter Resonance of Channel C with Macro 6. The Modwheel adds Cloudfilter Space and a fast squareshaped LFO. The Aetherizer in the FX section is tuned up an octave, control it's Balance and pitch with Macros 9-11.

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new upload: Alien Trip

Absynth 5 only - filesize 28 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
This patch processes a longer Soundscape (1:43) I produced with the Comb Delay- and self resonating features of u-he's More Feedback Machine 2. Each Oscillator is set to Granular mode and plays a different section of the sample. The sample playhead position/speed is controlled by velocity sensitive envelopes, the harder you hit the key the faster the samples will play. Each Channel has an envelope in Retrigger mode controlling the Channel volume and every 4 beats a different Channel fades in/fades out. All 3 Channels have a Supercomb Filter applied, Filter Feedback modulated by LFO-morphed Ringmodulation. Control the Supercomb Feedback and the Grainsize of the samples with the inverted Modwheel. A Cloudfilter in the Master section and a LPF 4 Pole Filter process the signal furtherly. Control Cloudfilter Balance with Macro 5, Cloudfilter Delay Random with Macro 6. Control the Lowpass Frequency with Macro 7 and the LFO-morphed and waveshaped Filter Resonance with Macro 8. You can also add a pulsating LFO applied to the Channel's volumes with Macro 1 and control the pulsation speed with Macro 2. In the FX section control the size of the Pipe with Macro 10 and it's Feedback with Macro 11. Balance wet and Balance dry can be controlled with Macro 9/12. Check the envelope and LFO page for further modulation sources and targets.
MP3 Demo
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new upload: Oilcan Mallets

Oilcan Mallets
Absynth 5 only - filesize 1,2 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A percussive Drumsound I made with Reaktor 5's Steampipe 2 Ensemble is processed in this patch. Channel A processes the sample with a Waveshaper and a Supercomb Filter, Channel B carries the same sample without the Supercomb. Crossfade between the Channels using the Modwheel and control the release time with Macro 1. A Ringmodulator in the Master section can be added using Macro 5 assigned to it's Balance. The Ringmod Pitch is controlled with Macro 6 and also via Velocity. The Resonator in the FX section is controllable with Macros 9/10 (wet / time).
MP3 Demo
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new upload: Heatwave

Absynth 5 only - filesize 4,2 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit - 1 stereo and 1 mono) This patch processes two cricket samples, one recorded some years ago in the Tuscany the other one some days ago when trying to capture a thunderstorm (which didn't quite make it) following an incredible heatwave. Channel 1 carries the more recent recording, actually the cricket was barely audible in the sample which mainly consisted of wind and distant rumbling so I used iZotope's RX to isolate the cricket sound. The Oscillator runs in Granular mode, time set to 5%. Control the Random Frequency parameter with the Modwheel. An LFO and velocity controlled Allpass Filter and a Ringmodulator process the signal, turn up Macro 7 to hear the Ring Modulation. Channel B carries the looped Tuscany crickets in normal Sampler mode. The signal is also processed by a Ring Modulator, it's Balance is also assigned to Macro 7. Channel C carries a waveshaped Sine Wave to add some more tonal body to this patch, processed by a LFO-controlled LPF 8 Pole Filter. Each Channel has a Macro assigned to it's volume (Macros 1-3). In the Master section a Cloudfilter adds some shimmering, Filter Quantization is controlled with Macro 5. Absynth's sample engine is reknown for it's bad aliasing artefacts when transposing samples, especially downwards so a key controlled LPF 8 Pole Filter reduces some high Frequencies in the lower regions of this patch. You can also control the Cutoff with Macro 6. The Aetherizer in the FX section adds a mysterious space and can be tuned down an octave with Macro 10.
MP3 Demo
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new upload: 54 to beat

Absynth 5 only - filesize 8,7 KB - zip folder contains the ksd - no samples used
Deranged temposynced machine music in 5/4.
I will skip a longer description this time as the Screenshot displays quite well what's going on. Use the 8 assigned Macros and the Modwheel to really twist this patch around.
MP3 Demo
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new upload: Split Spectral Synth

Absynth 5 only - filesize 33,8 MB - zip folder contains the ksd and three samples (wav/48khz/24 Bit)
3 samples (C0-C2-C4) I made with a combination of Reaktor and Alchemy split and spread out over the entire keyboard range. All Oscillators are set to Granular mode, control the sample speed with Macro 1 and the release time with Macro 2. Processed by Cloudfilters (Balance assigned to Macro 5) with LFO-cotrolled Filter Hz and a Lowpass Filter that rises in the attack phase if you turn Macro 7 down which is assigned to the first Breakpoint of the Filter Rise. Enhance the Filter Resonance with Macro 8. A Supercomb Filter in the Master section can add more body and strangeness to the sound if you turn up it's resonance with Macro 6. The following LFO-morphed Ringmodulator can be made audible by turning up Macro 3 which is assigned to Ringmod Balance. The Modwheel activates a temposynced LFO-pulsation. Macros 9-12 control various parameters of the Aetherizer in the FX section. Check the envelope, Midi and LFO page for further modulation sources and targets.
MP3 Demo
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new upload:Gym Maze Scape

Disconcerting Soundscape
Absynth 5 only - filesize 14,5 MB - zip folder contains the ksd and one sample (wav/44.1khz/16 Bit)
This patch processes a recording of chattering kids and teenagers in a verby gym which I recorded years ago during a workshop. All Oscillators are playing in Granular mode, A+B play the entire sample, sample playhead position/speed are controlled by envelopes. Osc C plays a looped fragment back and forth, the scream of a girl. With Macro 1 you can control the Breakpoints of the sample envelopes, so you can speed up the samples by 75%. Channels A+C process the sound using Supercombfilters with a negative Feedback transformed by a LFO-morphed Frequency Shifter in the FB section. Control the Balance of the Freq Shifter with Macro 2. Channel C also has a Waveshaper inserted, control the Input level with Macro 8. Channel B uses a HP Filter to reduce some low Frequencies. In the Master section you'll find another Waveshaper and a Cloudfilter, a slow LFO assigned to it's Balance. Control the Cloud Filter Hz parameter with Macro 3. Macros 5-7 control the individual volumes of the 3 channels, Macro 4 is assigned to the Attack time. The Modwheel controls a randomized Pitchmod of all Oscillators. The Aetherizer in the FX section adds a big space, Macros 9-12 are assigned to various FX parameters. Check the envelope and LFO page for further modulations sources and targets.
MP3 Demo
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new upload:9 Treasures Sequence

Absynth 5 only - filesize 8,6 KB - zip folder contains the ksd - no samples used
Oscillator A in Sync Granular Mode carries a selfdrawn wave, pitch and amplitude are controlled by retriggered/temposynced envelopes in 9/4, Osc phase is controlled by a temposynced LFO. A Cloudfilter processes that signal, the Cloud Filter HZ Parameter is controlled by a linked envelope. Control the Balance between Main/Mod (Oscillator noise) with Macro 5. Osc B caries a saw wave run through an envelope controlled Bandpass Filter (linked to Osc A pitch), control Filter Resonance with Macro 6. The pitch of Osc B is controlled by a linked envelope in double speed. In the Master section a LPF 8 Pole can reduce high frequencies when Macro 8 is turned down and a Combfilter can be activated when Macro 7 assigned to the Resonance is turned up. The Frequency of the Combfilter is controlled by a linked envelope. A Multitap Delay in the FX section adds synced delays, control wet Balance and Feedback with Macros 9/10. Both Channles also have Macros assigned to their general volumes (1+2).
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new upload:Brutal Sequence

Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
Each Channel plays a different sequence. Various retriggered and looped envelopes control the Oscillator's Pitch, Filtering and Panning. Lot's of LFO-controlled morphing going on as well. Control the Volume of each sequence with it's dedicated Macro, control the size and wet amount of the Tube in the FX section with 2 other Macros. Check the envelope page to see what's going on.
MP3 Demo
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new upload: Dark Loop Scape

Absynth 5 only - filesize 7,9 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Channel A+B both carry a strange loop I made sending squeaky metal sounds through a long Impulse response and a Grainfreezer. Osc A plays this back in normal looped Sample mode, Osc B is set to Granular mode and a looped envelope controls the sample's playhead position. In Channel A a Waveshaper and a LFO-controlled LPF 8 Pole Filter process the sound, in Channel B a LFO-controlled Allpass 8 Filter with it's Feedback twisted by a morphing Waveshaper and a Cloudfilter twist the sound. Channel C carries the looped sample of a Barrel being dragged on a stone floor with a long bassy decay, the sample is set to a fixed note, you can control it's pitch with Macro 6. A Highpass Filter and a Ringmodulator in the Master setion process the signal furtherly before it hits the Resonators in the FX section. Control the overall Attack time with Macro 1. Each Channel has it's own Macro for volume control (Macros 2-4). Control the Master Highpass with Macro 5. The Ringmodulator has 2 controls (Balance/Pitch) set to x/y-Macros 7/8. The Resonators can be controlled with Macros 9-12. The Modwheel adds a temposynced LFO which controls the Volume of all Channels resulting in a temposynced tremolo.
MP3 Demo
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new upload: Giant Stabs

Absynth 5 only - filesize 8,4 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two virtual steel string samples I made with AAS String Studio (actually for my new Kontakt Patch Steel String Monster which will be available soon) run through various Tubes and Saturators. Keyboard split happens at C3. These samples are both run through a Supercomb Filter with it's Feedback modulated by an envelope controlled Frequency shifter (the Feedback is very velociy sensitive) and then through a Waveshaper. The LPF 4 Pole in the Master section is also very velocity sensitive. An Aetherizer in the Master section adds a huge space controllable with 3 Macros. You can also control the Sample speed with Macro 1, Release time with Macro 2 and the envelope break point for Sample Grain size with Macro 5, turning this Macro down will make the samples sound very gurgly. The Modwheel is assigned to LFO1 Master depth which adds a strange Pitch- and Combfilter Frequency modulation.
MP3 Demo
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new upload: Rotating Birdwhistle

Absynth 5 only - filesize 4,8 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Channel A carries a sample I made playing one of my Birdwhistles turning around myself in front of 3 microphones (L-C-R). This is transformed by a Ringmodulator with envelope controlled pitch and then run through a Cloudfilter pitched up an octave with it's Balance controlled by the Modwheel. Oscillator B in Ringmod mode with a LFO-morphed Modulator wave is run through a LPF 8 Pole Filter (Macro assigned to Cutoff) and a Cloudfilter pitched down an octave, Balance also controlled by the Modwheel. Channel Vol is controlled by a fast LFO, LFO rate is controlled by another LFO resulting in a irregular tremolo. A Supercomb in the Master section with ringmodulated Feedback adds more strangeness, 3 Macros are assigned to Supercomb Frequency, Resonance and Ringmod Feedback amount. A LFO-controlled Allpass 8 Filter adds subtle phasing before the signal hits the Resonators in the FX section. Check the LFO and Envelope page for further Modulation sources and targets.
MP3 Demo

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new upload: Synced Panswell Pad

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
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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.
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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
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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
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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
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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

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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
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new upload: Cinematic Synth

Cinematic Synth
Absynth 5 only - filesize 8,2 KB - zip contains the ksd - no samples used
Chan A carries a selfdrawn waveform in Sync Granular Mode, processed by a Cloudfilter and a Supercomb. Chan B caries a Double Osc. the Balan ce between Main and Mod Waveform is controlled by a temposynced, squareshaped LFO. Osc B is then processed by an envelope controlled Bandpass and a LPF 4 Pole Filter. Chan C carries a drony, waveshaped sound, it's Volume is controlled with the Modwheel. A LPF 8 Pole Filter in the Master section (Macros assigned to Filter Cutoff Frequency and Feedback amount) with LFO-morphed waveshaped Filterfeedback processes the signal furtherly before it his the Resonators in the FX section, FX Filter Frequency controlled by a looped envelope.
Check the Macro, Envelope and LFO page for further Modulation sources and targets
MP3 Demo
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new upload: Vocal Dreaming

Very warm and ethereal vocal patch
Absynth 5 only - filesize 5,1 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
Two female vocal samples from a recent project edited in Melodyne played back in Granular mode, Sample Playhead position and speed controlled by looped envelopes. Chan A carries a single note, Chan B carries a higher phrase singing a straight note and moving up a semitone, the samples are tuned in octaves. Both voices are processed by envelope driven Cloud Filters, the wet/dry Balance is controlled with the Modwheel. A Supercomb in the Master section can be added by using the assigned Macro which controls the Supercomb's ringmodulated Feedback. A tuneable Aetherizer space provides the neccessary spaciousness, make sure the assigned Macro for the Aetherizer's pitch is set to where you want it to be, otherwise the Patch gets all detund which of course can be very desirable. Both Channels have their volumes assigned to Macros so you can balance between the two voices.
MP3 Demo
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new upload: Barrelscrape

Absynth 5 only - filesize 8,4 MB - zip folder contains the ksd and two samples (wav/48khz/24 Bit)
The sample of a big Barrel being dragged over a stone floor is used in Channels A+B in granular mode run through envelope controlled Waveshapers. The playhead position of the sample is controlled by looped envelopes. Chan B has a LFO-morphed Frequency Shifter apllied, the temposynced LFO 1 switches between Chan A+B, LFO amount is controlled via the Modwheel. Chan C carries a similar looped Barrelscrape sample in normal Sampler mod set to a fixed pitch, pitch controlled by a looped envelope. A Macro-controlled Supercomb and a Cloudfilter in the Master section process the sound furtherly before an envelope controlled Multicomb in the FX section adds the final touches. Check the Macro, Envelope and LFO page for further Modulation sources and targets.

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new upload: Beauty Dronescape

Channel A processes a long sample (2:10) of a huge drone I made using Alchemy and various other Plugs. Osc A is set to Granular mode, control the Sample speed with the assigned Macro. A Supercomb Filter can be added using the assigned Macro, another Macro controls the Filter Feedback amount and yet another Macro controls the Balance of the Ringmodulator in Channel A. Filter and Ringmodulator are modulated by various LFOs, check the LFO page if you want to understand what's going on. The overall Volume of the Drone can also be controlled with a Macro. Osc B in Granular mode carries the sample of some excited penguins just before feeding time which I recorded in a Zoo. The sample speed is controllable with a Macro, the pitch is controlled by a looped envelope and also via Velocity. The LFO-morphed Waveshaper in the Master section adds some Saturation/Distortion and a Lowpass Filter can be controlled with the assigned Macro. The huge Aetherizer space in the FX section is tuned up an octave, you can pitch it down an octave with the assigned Macro, also some other Macros control various FX parameters. The Modwheel adds a temposynced sawshaped Amplitude Modulation.

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new upload: Dreamy Piano

Absynth 5 only - filesize 2,5 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
The sample of a Piano Sequence I recorded at 120 Bpm in Eb minor is used in Oscillators A+B set to Granular mode. Temposynced envelopes in retrigger mode determine the sample playback speed so it will follow the Host tempo. Channel A processes the piano using a Cloudfilter, it's Balance controlled by a Macro. To add detune use the Modwheel. Channel B furtherly processes the sample using a LFO-morphed Frequency Shifter, Frequency is controlled by a temposynced step envelope. Channel C adds a Drone sound which is mapped from C2 downwards. A Ringmodulator in the Master section can be added using the assigned Macro for Ringmod Balance. The Volumes of Channel B+C are assigned to Macros. Happy Depression everybody!

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new upload: Gongswell Scape

Absynth 5 only - filesize 2,3 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample I recored some weeks ago of a creshending tremolo played on two small asian gongs is used in Oscillator 1 set to granular mode. Sample playhead position/speed is controlled by a looped envelope, control the release time with the assigned Macro. This is run through a Cloudfilter (Balance controlled by the Modwheel) and a Combfilter with it's Resonance assigned to a Macro. Channel B is set to FM mode, Channel C to Double mode, both are run through envelope controlled BPFs and a LPF 8Filter. A Waveshaper and another Cloudfilter (Balance also assigned to the Modwheel) are found in the Master section before the signal hits the Resonators in the FX section. Check the LFO and Macro pages for further Modulation sources and targets.

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new upload: Floating Spacechords

Absynth 5 only - filesize 6,1 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
So I sampled the decay phase of a nice Piano chord (C#min7/9/11) and put Osc A in Granular mode playing back that sample, it's speed controlled by an envelope. Control the sustain Breakpoint of that envelope with the assigned Macro. The signal is then fed into a LFO controlled Allpass 8 Filter, control it's resonance with the dedicated Macro and it's overall Frequency via Velocity. A Cloudfilter processes the signal furtherly, Filter Frequency controlled by an envelope, Filter Balance is controllable with a Macro. Channel B runs a Double Oscillator fed through a LPF 8 Pole Filter, it's Feedback processed by an envelope driven Frequency Shifter, control the Mod Pitch Rise Time and sustain level with the assigned Macros and the overall Volume of Channel B with another Macro. A Waveshaper in the Master section adds subtle distortion and the Supercomb with Macro-controlled Feedback adds some rich harmonics if desired. Check the LFO, Envelope and Macro page for further Modulation sources and targets. The Aetherizer in the FX section adds a beutiful huge space, 4 assigned Macros give you control over various Parameters.

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new upload: Mouthbubbles

Absynth 5 only - filesize 1,7 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample of bubbly sounds made with my mouth very close to the Microphone, sometimes touching it (resulting in mallet like sounds). All 3 Oscillators use that sample in Sample Jump Mode each one with a different sequence in temposynced Retrigger mode, control the Volume of each sequence with the assigned Macro. The samples are processed with Supercombs, their Resonances can be controlled with a Macro, the Filter Feedback is processed by LFO-morphed Frequency Shifters, their pitch assigned to the Modwheel. A Waveshaper and Highpass Filter in the Master section can be controlled with the assigned Macros. The Multitap Delay in the FX section adds temposynced Delays.

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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.

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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.

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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!

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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!

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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.

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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!

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new upload: Trio Sequence

Absynth 5 only - filesize 3,6 KB - zip folder contains the ksd - no samples used
Three Oscillators in double mode carrying sine waves as main waves and triangle waves as modulators. Unison and slight randomization add detune, the Oscillator 'sBalance is controlled with a LFO and via velocity. All Oscillators are processed with Allpass- and Cloudfilters, the Frequency of the Cloudfilters controlled by envelopes in Osc B+C, you can control the Cloudfilter Balance of all 3 Oscillators with the Modwheel. The pitches of the Oscillators are controlled by temposynced envelopes in retrigger mode, the default pitch setting is 1-7-12, the upper two pitches can be pitched down with the assigned Macro resulting in a 1-5-10 sequence. The attacks of the Oscillators can be controlled with the assigned Macro. A Ringmodulator in the Master section adds scifiness, control it's Balance with the assigned Macro, a LPF 8 Pole Filter reduces high frequencies if you tweak the assigned Macro. You can also tweak the Aetherizer settings with the Macros assigned, make sure that the Macro for the Aetherizer's pitch parameter is set correctly otherwise the whole patch will sound totally out of tune. Also check the LFO page for further modulations assignments.

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new upload: Jetstream

Absynth 5 only - filesize 10,1 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample of a jet engine I made standing underneath a waiting 747 moving the microphone around slowly is used in Osc A in normal sample mode. To enhance the main frequency of the Jet engine a narrow Bandpass Filter in Transpose mode which is slightly modulated by a LFO processes the sample before it is fed into an envelope controlled Cloudfilter whch adds a strange spectral melody to it. Osc B carries the same sample in granular mode processed by a LPF 4 pole FIlter with high resonance, the FIlter Feedback processed by a Frequency Shfter with a morphing wave. Osc C carries the unprocessed original sample an octave higher.
A Ringmodulator in the Master section with it's Balance controlled by the Modwheel makes the whole sound more synthetic. The Aetherizer adds a big space which can be tuned down an octave with the assigned Macro. It's quite interesting to turn the Macro for dry signal amount down and then tuning the pitch of the Aetherizer down an octave which makes the whole sound darker and even stranger.

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new upload: Chinatalk

Absynth 5 only - filesize 2,3 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
In 2005 I travelled Asia gathering sounds and ambiences for my filmscore for the documentary film "Trip to Asia". In Taipei/Taiwan I recorded this female TV moderator presenting the musicians of the Berlin Pilharmonic orchestra to the 20.000 people attending the live screening of the concert on the square in front of the concert hall.
Oscillators A+B carry the timestretched vocal sample, the grain size is controlled with a LFO, you can also control the grainsize with the assigned Macro. Also the sample speed is tweakable with a Macro. Osc A is filtered with an envelope controlled Supercomb and a Cloudfilter, Osc B remains unprocessed and can be tuned an octave up with the assigned Macro. The random frequency of the grains can be controlled with the Modwheel, an additional Macro-controlled LFO adds even weirder pitch modulation. Osc C carries the same bandpass-filtered sample in normal looped sample mode. Control sample pitch with a Macro, add envelope controlled pitch modulation with another Macro. Each Channel has it's own Volume Control, also the LFO-controlled Resonators in the FX section can be adjusted in volume.

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new upload: Evolving Feedbacks

Absynth 5 only - filesize 7,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A sample I made with Reaktor 5's Cha-Osc is used in Osc A run in granular mode. An envelope determines the sample playhead position. Control the playback of segment 3 of the envelope with the assigned Macro. Osc A is processed by a LPF 8 pole filter in feedback mode, a Waveshaper running a multi wave processes the Filter Feedback, the Waveshaper amount is controlled by a looped envelope. Control the Filter resonance with the assigned Macro and the Filter Cutoff with the Modwheel.
A smaller looped portion of the same sample is used in Osc C, control the sample length with the assigned Macro. Osc B carries a FM wave run through a Bandpass Filter and a Cloudfilter. An Allpass FIlter in the Master section adds morphing strangeness, the Aetherizer adds a pitched space, you can control the pitch with the assigned Macro (-12 semitones).

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Donationware experiment failed

Ok, as the donationware experiment totally failed I'm trying a new model now. All Absynth 5 patches are locked with a password, if you make a donation you'll receive the password to your paypal adress giving you access to all available AB5 patches. All MP3 demos are of course unlocked, so are the AB4 patches on my site.

3000 visitors and +10.000 downloads in two months resulted in three donations. That doesn't work for me.

new upload: Black Holes

Huge cosmic Soundscpape
Three samples derived from an Impro take I made with Reaktor 5 distributed amongst the three Oscillators in normal sample mode. Osc 1+2 are fed through Waveshapers, their waves morphed by LFOs, Osc 3 is routed through a Ringmod module. Some additional filtering applied to Osc 2 and 3.
In the Master section another Ringmod module with LFO-controlled wavemorphing and a Cloudfilter process the sound further. The Ringmod Balance and Pitch can be controlled with the assigned Macros, the Balance of the Cloudfilter with the Modwheel. Frequency morphing of the Cloudfiler is controlled by two envelopes, also an envelope with LFO control is subtly changing the Ringmod pitch. The delay time of the Echoes in the FX section is controllable with a Macro, when relasing the key a release envelope shortens the Delay time. Each black hole's volume can be controlled with a Macro.
WARNING: Don't play this for too long, as a corruption of the time&space continuum will suck you into a black hole and spit you out inside the Absynth 5 Waveshaper! So download it and donate!

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new upload: Barrelhit

Absynth 5 only - filesize 1,1 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Osc A in granular mode carries the timestretched sample of a hit on a metal barrel run through a Supercombfilter with full Feedback and a Cloudfilter. Sample Grainsize is controlled by an envelope. The Supercomb Feedback is furtherly processed by a Frequencyshifter, control the amount of Feedback processing (Mix) and the Cloudfilter Mix with the Modwheel. A LFO controls the pitch (delay length) modulation of the Comb filer, control the LFO speed with the assigned Macro. Osc B carries the looped barrel sample in normal sampling mode. The Amplitude of Channel B determines the Volume of Channel A via the Audio Mod feature. It also controls various parameters of the Aetherizer in the FX section. The demo was played in realtime using the Pitchbend (+/- 12 semitones) and the Modwheel. Happy hitting!

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new upload: Droneland

Absynth 5 only - filesize 31,4 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Huge metallic drone texture. Osc A carries a selfdrawn wave run through a Combfilter and a Cloudfilter. Osc B carries a long sample I made using Reaktor and Kontakt which is run through an Alpass Filter. Osc C carries a FM wave run through a LPF 4 Pole Filter. There is a lot of filter morping going on on the LFO and envelope pages, so check those if you want to see what's happening. In the Master section a Waveshaper with a morphing wave and a LPF 8 Pole filter process the signal furtherly and the LFO controlled Resonators in the FX section add a strange warped space. Lot's of Macros assigned for further tweaking, check the Macro page.

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new upload: Space of Glass

Absynth 5 only, programmed on version 5.0.1 Beta so I hope it plays on version 5.0.0 (too lazy to revert right now to check that out, but the update will be released very soon anyway) - filesize 13,9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Ethereal Glass patch. Oscillator A carries a sample of tinkling glasses in granular mode, an envelope controls the playhead position of the wave, it takes 80+ seconds to scroll through the entire sample. A Supercomb filter adds resonances, control it's reso amount with the assigned Macro and add Waveshaper reso treatment with another Macro which turns the glass sound into a rich pad. If you want to hear the pure glass sound turn down the Macro for Comb resonance. Osc B is triggered by the amplitude/volume of Channel A via the Audio Mod on the Performance page and adds a bandpassfiltered FM wave, control the channel volume and Filter Frequency with the assigned Macros. A Cloudfilter in the Master section adds more heaven, control Balance and Filter Frequency with the assigned Macros. The Modwheel adds Frequency Modulation to the Combfiler resulting in a pitch modulation. The Aetherizer in the FX section adds a huge modulated space.

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Two new uploads: Swelldoom and Ringmod Sequence

Swelldoom:
Absynth 5 only - filesize 2,9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Weird soundscape, watch out for Feedbacks!
Oscillator A carries a slowed down sample in granular mode I made in Reaktor 5. This is run through a swelling LPF 8 pole filter with high Resonance, a Frequency processes that resonance, adding strange pulsations that follow the keynumbers - a quantized envelope controlled Cloudflter adds strange overtones. Osc C in double mode is also run throughan LP filter with the same swelling curve and another Cloudfilter. A Ringmodulator in the Master section and a Supercombfilter add more strangeness. Control the amount of Ringmodulation with the Modwheel and the Mastercomb's Resonance and tone with the assigned Macros, watch out for shreeking noises and unpredictable feedbacks please. The reverb colour of the Resonantor in the FX section is controlled by an envelope.

Double Ringmod Sequence:
Absynth 5 only - filesize 8,5 KB - zip folder contains the ksd - no samples used
Oscillator A runs in Fractalize mode with a selfdrawn wave - Fract amount and displacement controlled by envelopes, Osc B runs in FM mode with the same wave as carrier and a sinewave as Modulator. A LFO controlls the temposynced Pulsation of both Oscillators. Two step envelopes in retrigger mode conrrol the pitch of both Oscillators, Cloudfilters, a Ringmod Module in the Master section and a Master LPF 8 Pole finish the job. Lots of Macros assigned, you can control the top note of the pitch envelopes, the Ringmod Feedback and amount, the LFO Ampstrength and much more, just check the Macro page and the envelope section if you need to understand what's going on.

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new upload: Pluto Pad

Absynth 5 only - filesize 10,9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Cosmic Soundscape. A sample I made with Synplant and Echoboy in granular mode. Each Oscillator plays back a different segment of the sample, playhead position and sample speed controlled by looped envelopes, each Oscillator's volume can be controlled with a Macro, also the release time is tweakable with a Macro. Furtherly processed by Allpassfilters, Filter feedback is controllable with a Macro, and Cloudfilters, their quantized filter grains controlled by envelopes. A Notchfilter in the Master section controlled by a slow LFO adds further modulation, the Filter Bandwidth can be controlled with a Macro. The Aetherizer adds grains an octave higher, their pitch can be controlled with a Macro. The Modwheel adds a slow temposynced LFO pulsation.

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new upload: Dirtlead

Absynth 5 only - filesize 3 KB - zip folder contains the ksd - no samples used
Dirty monophonic lead sound using Fractalize Oscillators. Osc A carries the main sound, the amount of dirt is controlled via velocity assigned to the Waveshaper Feedback amount in the LPF 8 pole filter. The Waveshaper in A2 adds more distortion and a Cloudfilter in the Master section supplies some detuning. The Cutoff of the LP filter is assigned to the Modwheel, so is the volume of Oscillator B, tuned an octave higher. A multitap delay is active in the FX section. Pitch Modulation can be added with the assigned Macro. A little portamento is also applied.

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new upload: Knifemania 2 stochastic

Absynth 5 only - filesize 1,4 MB - zip folder contains the ksd and three samples (mono/wav/48khz/24 Bit)
Three looped samples of "plucked" knifes I played on a wooden table processed with Ringmodulation and Combfilters. You can determine the pitch of each knife with a Macro. There is a temposynced step envelope for the Ringmodulation which you will only hear when turning up the assigned Macro. If you want to hear the detuned Combfilter resonances turn up the Macro for it, tune the combs with another Macro. The Modwheel controls the Cloudfilter adding strange grains which can also be tuned with a Macro. More Controls assigned to the FX section. Happy plucking!

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