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
Tuesday, March 22, 2011
Saturday, March 19, 2011
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.
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.
Wednesday, February 16, 2011
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.
get it here
get it here
Sunday, February 13, 2011
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
Demo
Friday, February 4, 2011
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.
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.
Saturday, January 29, 2011
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.
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.
Friday, January 28, 2011
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
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
Sunday, January 23, 2011
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.
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.
Friday, January 21, 2011
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
get it here
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
get it here
Friday, January 14, 2011
new upload: Blubb Sequence
Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
A technoid bubble sequence driven by the temposynced envelope assigned to the Filter Frequency of the BPF-Filter in Channel A. The pitches of the bubbly sounds generated in Channel B are controlled by the amplitude of the sequence via the Audio Mod in the Performance window. All Macros are assigned, turning up the Modwheel will create a grainy chaos which can be modified with 2 of the Macros. Please check the Macro page for all the available controls and have some bubbly fun with this one!
get it here
A technoid bubble sequence driven by the temposynced envelope assigned to the Filter Frequency of the BPF-Filter in Channel A. The pitches of the bubbly sounds generated in Channel B are controlled by the amplitude of the sequence via the Audio Mod in the Performance window. All Macros are assigned, turning up the Modwheel will create a grainy chaos which can be modified with 2 of the Macros. Please check the Macro page for all the available controls and have some bubbly fun with this one!
get it here
Tuesday, December 21, 2010
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.
get it here
Demo
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.
get it here
Demo
Monday, November 8, 2010
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
get it here
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
get it here
Sunday, November 7, 2010
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
get it here
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
get it here
Saturday, November 6, 2010
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
get it here
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
get it here
Sunday, October 24, 2010
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
get it here
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
get it here
Tuesday, October 12, 2010
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
get it here
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
get it here
Saturday, September 25, 2010
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
get it here
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
get it here
Saturday, September 11, 2010
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
get it here
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
get it here
Tuesday, September 7, 2010
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
get it here
Demo
get it here
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