new upload: Abyssal Moaning Scape

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

get it here

new upload: Wonderland

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

Demo
get it here

new upload: Fairy Tale Pad

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

get it here

new upload: Space Delight

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

Demo

new upload: Aaltolot

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

Demo

new upload: InterZone

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

Get it here

new upload: Metal Thunder

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

new upload: Bell Drone

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

Demo

new upload: Big Sci-Fi Organ

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

Demo

quick tutorial for using envelopes for sample playhead control

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


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

new upload: Voicegulls

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

Demo

new upload: Call Me

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

Demo

new upload: Epic Voxolin Pad

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

Demo

new upload: Legno Rain

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

new upload: Jungle Combs

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

get it here
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