new upload: Epic Voxolin Pad

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

Demo

new upload: Legno Rain

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

new upload: Jungle Combs

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

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Demo

new upload: Morsescape

Channel A carries a sample of a strange glass texture I made with Metasynth processed with a Supercomb and a Cloudfilter and Channel B adds the morse sound produced with a FM Oscillator and a complex LFO routing, where the temposynced speed of the main LFO is modulated by the randomized but also temposynced frequency of another one. Macro 2 controls the overall morse speed. All Macros are assigned on the Performance page, the Modwheel detunes the unison pitch of Osc 2 and also controls the Balance of the Cloudfilter processing the sample in Channel A. Please check the LFO and envelope page to see what's going on. This patch is capable of creating a great variety of sounds as you can hear in the demo.

new upload: Doublemorph Sequence

This patch is not using any samples, all 3 Channels have temposynced envelopes running, lot's of waveshaping and LFO-morphing is going on, Channel C also has 2 step envelopes active for controlling the pitches of the FM Oscillator carrier and modulator. Check out the Macro page and tweak this sequence to your taste and needs.

Demo

new upload: Subway Drone

A sample recorded in a Moscow subway station with arriving subways processed in Metasynth is used in all 3 Channels. Channel A runs in Sampler mode, the signal is processed by a LFO-morphed Waveshaper, Channel volume is controlled by an envelope in (temposynced) retrigger mode. Channel B runs in Granular mode, sample playhead position/speed controlled by a looped envelope and processes the sample with a Cloudfilter, it's Balance controlled by the envelope which also controls the Volume of Channel A (Link mode) and/or with Macro 1. Channel C is a transposed clone of Channel B plus it has a Frequency Shifter active in module C2. Control the Frequency shift with Macro 7 and the Channel Volume with Macro 4. In the Master section a Comb Filter can be added by turning up it's resonance with Macro 5. It's pitch is controlled by a LFO, control the LFO speed with Macro 6, The same LFO also modulates other parameters. A Lowpass Filter is active in the Master Section/Module 2, control it's Cutoff with Macro 8 and it's waveshaped resonance with Macro 12. The Resonators in the FX section can be controlled with Macroe 9-11. The Modwheel adds a temposynced pitch modulation and Macro 14 controls the Volumes of Channels A+B- Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Freezevox

Oscillator A carries a sample I made by doing some overtone singing while testing a new portable recorder. This sample was then processed with GRM Evolution. The result was imported into Metasynth and resynthed/furtherly mangled in the Image Synth, the result is the sample for Channel B. Osc A+B run in Granular mode, sample playhead position and speed controlled by a looped envelope. Macro 1 controls the speed of that envelope, turning it down will increase the speed (and the fun). Osc C carries a custom wave in Sync Granular Mode run through a BPF Filter. All Oscillators are processed by a Ringmodulator, control the Balance with Macro 6 and the RM pitch with Macro 7. The Modwheel controls the Cloudfilter Balance in the Master section, you can also control the Cutoff of the LPF 4 Pole Filter in that section with Macro 5. Macros 2-4 are assigned to the individual Channel volumes. Macros 8+12 are for controlling Pitch modulation and it's speed. The Resonator in the FX section is controllable with Macros 9-11.
Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Master Drone

Channel A carries a sample I made in Metasynth by respectralizing the attack phase of a metal Bowl using a Multi FM Synth. The Oscillator is set to Granular mode, sample speed at 4%, randomize the Grain pitch with Macro 1. This sound is run through a Supercomb filter, control it's waveshaped resonance with Macro 7 and it's pitch with Macro 5. The sample is furtherly processed by a Waveshaper, you can activate a temposynced envelope for the WS Input with Macro 2. Channel B uses a saw wave run through a Lowpass Filter with waveshaped resonance and a Cloudfilter. Control the LP Cutoff with Macro 6 and the Cloudfilter Balance with Macro 8. More waveshaping takes place in the Master section and another velocity sensitive Lowpass Filter smoothes the signal before it hits the Aetherizer which has Macros 9-12 assigned to various parameters. The Modwheel controls a temposynced square-shaped LFO, control the LFO speed with Macro 14 (CC11). Control the individual channel volumes with Macros 3 and 4.
Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: More Light

A sample made with Reaktor and Aether Reverb, processed in Metasynth and then furtherly processed with Shimmer Reverb is used in Channel A running in Granular Mode, sample playhead position and speed controlled by a looped envelope. A Lowpass Filter porcesses that sample, control the Cutoff with Macro 5. Osc 2 runs in FM Mode, the main wave is morphed by a LFO, the FM Modulator carries a resynthed wave imported from another Metasynth sample. A LPF 8 Pole Filter with ringmodulated Feedback processes that wave before it hits a Cloudfilter, control the RM pitch with Macro 6. Osc C runs in Double Mode processed by a Waveshaper and an envelope controlled Bandpass Filter, the envelope's breakpoints are velocity sensitive. In the Master section a Ringmodulator controllable with Macros 8+12 and a Highpass Filter controllable with Macro 7 process the signal furtherly before it reaches the Aetherizer. The dry signal amount is controlled by a temposynced envelope which you can activate by turning Macro 4 all the way down. You can turn the Aetherizer's pitch up 2 octaves with Macro 10 and add some detuning with Macro 11. The individual levels of the different channels are controllable with Macros 1-3, the Modwheel adds pitch modulation. Please check the envelope and LFO section for further modulation sources and targets.

Demo

new upload: Female Meta Vox

A recording of female overtone singing from a recent theatre project processed in Metasynth, stretching the sound and enhancing the spectral movements. Two samples with different methods of processing were made out of this orgonal recording. Osc A holds the less spacious sample, Osc B uses a wider, more stretched sample. Both Oscillators run in Granular mode, control the Sample Speed with Macros 1+2 and the Random Grain Freq with Macros 3+4. Both Channels have a Ringmodulator and a LFO-controlled Notch Filter applied, the Modwheel controls the Notch resonance. Control the Ringmod Balance with Macros 5+7 and the RM pitch with Macros 6+8. A Supercomb in the Master section adds distorterd weirdness, control the weirdness Balance with Macro 11 and it's pitch with Macro 12. A Lowpass Filter (which is also sensitive to velocity) processes the signal furtherly, control the LP Cutoff with Macro 15 and the LP resonance with Macro 16. The Aetherizer in the FX section can be controlled with Macros 9+10.

new upload: Flanged Space

Rich cinematic Soundscape

Osc A carries a sample I made with Metasynth. It is processed by a Highpass Filter, control the HP Cutoff with Macro 5 and it's resonance with Macro 6. A Freq Shifter processes the signal furtherly, control it's Frequency with Macro 7. Osc B in Sync Granular mode carries resynthed waveform created by importing the same sample into Absynth. A LFO-controlled Allpass 8 Filter and a LFO-morphed Freq Shifter process this waveform. Osc C in Double Mode adds a temosynced pulsating wave, processed by a Lowpass Filter and a Ringmodulator. Control the Ringmod Balance with Macro 3 and the RM Pitch with Macro 4. The individual Volumes of Channel B and C can be controlled with Macros 2 and 14. Macro 8 adds a random pitch modulation to Channels B+C. A Waveshaper and a Cloudfilter are active in the Master Section, the Cloudfilter's Balance is controllable with the Modwheel. the Cloud's Random Pitch Modulation with Macro 1. The Resonators in the FX Section have Macros 9-12 assigned. Please check the LFO and envelope pages for further modulation sources and targets.

new upload: Forever Floating

The sample of a Horn player hitting the bell of his instrument transformed into a strange texture with Metasynth is used in Channel A in Granula mode, processed by a LPF Filter, it's Feedback modulated by a Ringmodulator. Determine the sample speed with Macro 2, control the LPF Cutoff with Macro 5 and Filter Feedback/Resonance with Macro 6. Channel B plays a synthetic wave made from another imported Metasynth sample, processed by a Bandpass filter and a Frequency Shifter. Control the Bandpass Resonance with Macro 7 and the pitch of the Freq Shifter with Macro 8. Both Channels have their Volumes assigned to a Macro (3+4). A Notch and a Cloudfilter in the Master section add more flavour to the sound, control the Cloudfilter's Balance with the Modwheel. The speed of all active LFOs is controllable with Macro 1. The Aetherizer in the FX section can be tweaked with Macros 9-12. Please check the envelope and LFO page for further modulation sources and targets.

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new upload: Triplet Synth

This patch is a triplet based sequence good for bass lines and chords. Oscilator A and B run in FM mode, their volumes sequenced with envelopes in retrigger mode, Osc B tuned up an octave with some envelope controlled pitch modulation. The sequence of Osc B is slightly shifted to create offbeats. Both Oscillators are processed with a Waveshaper and a Frequency Shifter. Control the Frequency Shift with Macro 5 which is inverted for Channel B. The volumes of Channel A+B are assigned to Macros 2+3. Channel C, it's volume assigned to the Modwheel, adds a metallic woodpecker-like sequence in double time. In the Master section a Notch and a LPF 8 Pole Filter process the signal furtherly, Macros 6-8 are assigned to Notch Resonance, LPF Cutoff and LPF Resonance. Some temposynced Delays in the FX section are controllable with Macros 9+10. Please check the envelope and LFO page for further modulation sources and targets.

Demo

New scheme on absynthsounds.com

Today I changed the scheme for absynthsounds.com
Instead of an obligatory donation it now runs on an unlimited subscription scheme. For 20 Euros you will get access to 91 currently available Absynth 5 patches as well as all the patches I will create and post in the future. All Absynth 4 patches remain as donationware.
All donators to this date will not be affected by this change in any way.

new upload: Gongsax Spectralscape

Spectral Soundscape for Absynth 5
Oscillator A runs in Granular mode and holds a long sample I made by resynthing a sopran sax phrase in Metasynth and then triggering gonglike metal samples with that data, manipulating the spectral content and rearranging the harmonics. Control the sample speed with Macro 1 and the sample position with Macro 2. A LFO-controlled Notch Filter processes that sample furtherly. Oscillator B runs in FM mode carrying a selfdrawn wave as the carrier. This is processed by LPF 4 Pole and a Cloudfilter. Control the Lowpass Cutoff with Macro 6 and the Cloudfilter's pitch with Macro 6 and more Cloudfilöter parameters with Macro 11. You can trigger panning envelopes for Channel B with the x/y pad using Macros 7+8. In the Master section the Balance of a strange Ringmodulator can be controlled with Macro 12. The Modwheel adds a temposynced amplitude modulation and the Pipe in the FX section is controllable with Macros 9+10. Check the LFO and envelope section for more modulation sources and targets.

Website Revamp

absynthsounds.com just had a major overhaul and was totally redesigned by australian webdesigner Simon Fields who performed a fantastic job on this task. The whole site now looks like the actual synth itself, navigation is musch easier, no more scrolling and much more fun previewing the patches.
The donation scheme hasn't changed, donating a minimum of 18 Euros will give you access to all current and future Absynth 5 patches, and there is lot's more to come.
Check out the new website

new upload: Granular Growl

Absynth 5 only - filesize 2.9 MB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
Channel A carries a french horn sample in Granular mode, a low growling sound with glissandi. Control the sample playback speed with Macro 1. This is then processed by a LFO-morphed Waveshaper and a LPF 8 Pole Filter, Filter Feedback modulated by a LFO-morphed Frequency Shifter. Channel B uses a resynthed waveform extracted from another Horn sample within a Ringmod Oscillator with 3 unison voices. This waveform is processed by an envelope controlled Bandpass Filter, the envelope's first breakpoint is velocity sensitive so the harder you play the faster the Filter will rise to it's first Breakpoint. The overall Cutoff of the Bandpass is controllable with Macro 5. Channel C uses the same sample as Channel A but in normal Sample mode (looped) processed by a LPF 8 Pole with waveshaped Filter Feedback. A LFO-controlled Frequency Shifter processes the signal furtherly, control the LFO speed with Macro 8. In the Master section you'll find a Hipass Filter, control the Hipass Cutoff with Macro 11 and the Resonance with Macro 12. A Combfilter then turns the whole signal into a texture with distinct chromatic pitches, if you turn the Comb Feedback down with Macro 7 the whole texture will become more atonal and noisy as the original pitches of the samples will become audible. You can also tune the Comb up an octave with Macro 6. All channels have individual volume sliders (Macros 2-4) and the Aetherizer in the FX section is controllable with Macros 9+10. The Modwheel adds a fast temposynced amplitude modulation. Please check the LFO and envelope page for further Modulation sources and targets.

new upload: Spoonstretcher

Absynth 5 only - filesize 370,6 KB - zip folder contains the ksd and one sample (wav/48khz/24 Bit)
A while ago I made some cutlery samples I neded for a radio play. This patch uses the sample of a spoon being dropped into a ceramic cup. Osc A carries that sample in Granular mode, playhead position/speed controlled by a looped envelope. Processed with a Supercomb and an Allpass Filter. Channel B adds a synthetic wave processed by a LPF with modulated Filter Feedback and a Cloud Filter, control the Cloudfilter Balance with Macro 6 and the Balance of the Sync Granular Osc with Macro 7. Channel C also uses the spoon sample but in normal Sample mode then processed by a Supercomb and a Bandpass Filter. A Ringmodulator in the Master section can be controlled with Macros 4+8, the Cutoff of the Lowpass Filter in the Master section is controllable with Macro 5. The Aetherizer in the FX section has Macros 9-12 assigned. The Modwheel adds a slow pitch modulation. Macros 1-3 control the individual volumes of each channel. Please check the LFO and envelope page for further Modulation sources and targets.

Demo
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new upload: Blubb Sequence

Absynth 5 only - filesize 4,6 KB - zip folder contains the ksd - no samples used
A technoid bubble sequence driven by the temposynced envelope assigned to the Filter Frequency of the BPF-Filter in Channel A. The pitches of the bubbly sounds generated in Channel B are controlled by the amplitude of the sequence via the Audio Mod in the Performance window. All Macros are assigned, turning up the Modwheel will create a grainy chaos which can be modified with 2 of the Macros. Please check the Macro page for all the available controls and have some bubbly fun with this one!
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new upload: Crushed Comb Cellos

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