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
Tuesday, December 21, 2010
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
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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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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
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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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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
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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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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
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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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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
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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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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
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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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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
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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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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
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Demo
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Wednesday, August 18, 2010
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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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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Tuesday, August 17, 2010
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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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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Sunday, August 1, 2010
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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absynthsounds.com
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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absynthsounds.com
Saturday, July 24, 2010
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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absynthsounds.com
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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absynthsounds.com
Thursday, July 15, 2010
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
get it here:
absynthsounds.com
MP3 Demo
get it here:
absynthsounds.com
Monday, July 12, 2010
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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absynthsounds.com
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
get it here:
absynthsounds.com
Sunday, July 4, 2010
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
Saturday, July 3, 2010
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
Sunday, June 27, 2010
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).
MP3 Demo
get it here:
absynthsounds.com
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).
MP3 Demo
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
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
get it here:
absynthsounds.com
Wednesday, June 16, 2010
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
get it here:
absynthosunds.com
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
get it here:
absynthosunds.com
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