Parameter Page ("Main")
On this page, the individual parameters for each SoundPatch can be adjusted using rangesliders. A single value can be entered by clicking once, or clicking and dragging can specify a range within which the modifier will operate. If no modifier is selected, the value will be taken from the left edge of the range. The "range" numbers indicate what the extreme values of this range are, and can be changed for smaller or larger modulations. The "warp" button specifies whether the modulation will be tracked in a linear or exponential fashion (which can be useful when modulating pitch values.)
The modulation sources can be any of the following:
- Overall "shape" amplitude envelope for the sound
- Any one of 3 available "multi" envelopes (at either control rate or audio rate)
- Any one of 3 available "aux" values passed to the SoundPatch when it is played
- The output of a specified Control Bus or Audio Bus
- The amplitude-follow value of an Audio Bus
- The "Audio In" input
If sample & hold is selected, the modulation value will be sampled from the moment the note is played. The modulation value can also be inverted, which has the same effect as swapping the extremes of the range selection.
Envelope Page ("Main 2")
Here, the overall amplitude or "shape" envelope can be adjusted, as well as the 3 "multi" envelopes, which are unassigned to begin with but can modulate any parameter if specified to do so. These envelopes are simple 4-stage affairs. The overall length can be specified in terms of seconds, or (if the length of the note to be played is known in advance) proportional to the note length.
This page contains the parameters that are particular to a certain SoundPatch, such as oscillator types or filter settings.
Uses an emulation of this soundchip ported by Fredrik Olofsson.
Buffer1, Buffer2, Buffer3
Simple sound buffer players, with different filter types.
A choice of 44 different chaotic algorithms is available.
Formant oscillator for vocal-type sounds. The synthesis is based around a fundimental frequency, formant frequency, and bandwidth of the formant.
Uses a port of various Gendy types by Nick Collins.
Five selectable synthesis types for making hi-hat sounds, including noise going into a BPF, an FM type, and my personal favourite, a high pass filtered cluster of pulse waves.
A bank of sine oscillators can be specified. This idea has been extended to other waveforms.
MultiMod1, MultiMod2, MultiMod3, MultiMod4
3 operator frequency, phase and amplitude modulation with different filter types.
Uses an experimental waveshaping setup that rapidly shifts the input waveform to be affected by different parts of the waveshaper.
A sine is phase modulated by a saw wave with variable duty.
Pulse1, Pulse2, Saw1
Simple wave generators with sub oscillators, a noise generator and filters.
Makes use of a chaotic algorithm ported by Nick Collins.
A simple granular synth player.
I have made use of various ports of Perry Cook's STK code made by Paul Lansky:
Flute, Banded Waveguide, Blow Hole, Bowed, Clarinet, Mandolin, Modal Bar, Moog, Saxophony, Shaker.
Applies a simple delay with feedback to the input signal.
Gates the input signal, also a "distortion" version.
The input excites a bank of resonating filters.
Mixes up to four inputs.
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