Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

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Snufflepuff
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Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by Snufflepuff » Tue Apr 13, 2021 10:54 pm

Cobbled together from here and Lines, Please add your own! Thanks to original posters.

Reverb and Delay

- Ring modulate a dry and reverb-ed version of the same oscillator, with a slow drifting modulation signal to oscillator pitch
- Use the output of an oscillator sent through reverb to FM itself
- Slowly modulate a spring reverb’s feedback path EQ gain and cutoff point (e.g. Intellijel’s Springray2)
- Send a raw sawtooth wave to a spring reverb with a small tank; send a slow-attack envelope to the feedback CV input to create a cello sound
- Modulate a reverb’s feedback with audio-rate waves or periodic pings/triggers
- Arpeggiate an oscillator via its v/octave input, and send the output straight to reverb, with no envelopes. Treat the full wet reverb output as a new sound source, with a gate-controlled VCA envelope, etc,— a pseudo-polyphonic voice.
- Find a delay that can process control voltages!
- A workaround if your delay only processes audio signals: send white noise into a VCA, then into your delay. Have the control voltage you want delayed plugged into the CV input of the VCA (i.e. it will shaped the amplitude of the white noise). Send the result of the delay into an envelope follower to ‘extract’ your CV signal.

Timbre
- To expand upon 2 operator FM synthesis, take two sines at different pitches, send them through a slowly-swept phaser or resonant filter (or any other waveshaper), then to the FM input of a third oscillator
- Run envelopes through resonant filters and other waveshapers to give them bumps, etc.
- Amplitude-modulate an oscillator with its own sub-oscillator
- Sync 2 Mangroves: FM the barrel output of one with the square output of the other; send a slewed random CV to the Formant control to give an unstable pitch at the start of each note.
- Ping a self-oscillating filter with a short burst, such as a fast envelope. Then try amplitude-modulating the envelope at audio-rates before it hits the filter
- With 2 Mangroves, 1 synced to the other’s square output, send a melody to the primary Mangrove. Modulate the Barrel and Formant controls of both oscillators with distinct LFOs. You’ll get close but not identical melodies, with pitches that fold and expand
- Use the ring-modulated output of 2 waves beating against each other (i.e. tuned very closely, or very close to octaves part) as the source to FM another oscillator
- Use 2-3 summed slow LFOs to modulate the attack and release times of an envelope controlling an oscillator’s timbre (pulse-width, wavefold amount, etc.)
- Use a synced oscillator to FM, ring-modulate, or modulate wavefold amount of the primary oscillator.

Sequencers and going Sequencer-less
- Add or subtract two pitch sequences of different lengths. Attenuate and quantize the result, if needed, then send a semi-random CV to the sequencer clock input.
- Send identical pitches to 2 voices, but modulate one voice a random or semi-random offset on some/each beat.
- Feed a few outputs of a clock divider to the record start/stop control of a looper. It will chop your audio up into clock-synced pieces.
- ‘Layering, chopping, time-stretching simple sequences can result in very complex and evolving sound beds to play on.’
- Sum multiple pulse LFOs, quantize , and send to the volt/oct of your oscillator. Modulate the LFOs’ amplitudes and pulse-widths.
- Or use the summed LFO wave output to gate sequenced notes
- Take continuous LFO shapes, waveshape them if desired, sum, send to sample and hold, then to quantizer, then to oscillator pitch input for instant arpeggios/pitch sequences.
- Patch a few different clock divisions to a sequential switch, then route its output back to the clock. ‘Switch’ the switch output somewhat randomly for unpredictable tempo shifts
- Use a matrix mixer to create CV feedback loops
- Sequence things other than note pitch and duration with a sequencer. Sequence wavefold amount, filter cutoff, resonance, envelope shape, delay amount, wavetable position. Seriously, this is modular synthesis 2.0.
- Make your own burst generator: Use a multiple to trigger an envelope and an LFO simultaneously. The LFO should be unipolar, with a period shorter than the envelope’s. Amplitude modulate the envelope with the LFO.
- With a Dual Universal Slope Generator or Maths: run each function at different rates, each triggering the other. Send one function to be sampled and held, then sent to oscillator pitch; have the other function clock the sample and hold.

Other
- Turn a linear envelope into a more natural-sounding exponential envelope: patch the envelope output, inverted, into attack time and decay time. As the attack proceeds, attack time will shorten, steepening the curve. As decay occurs, decay time will rise, flattening the curve.
- Try pulsar synthesis!
- Turn Maths or any 1 volt/octave controlled cycling envelope into a Mangrove: Have a square oscillator trigger the the envelope. With the square wave establishing the envelope's frequency, you can now shorten or lengthen the attack and decay times of your cycling envelope. Changing the total duration of the attack/decay will shift formants. The ratio of attack to decay will shift the timbre from triangle to saw sounding. This is most Mangrove-like if your cycling envelope ignores trigger signals during its attack phase. For bonus points, sync another square oscillator to the original square, set it to cycle a second envelope. Play with this square oscillator's pitch control. (The extended discussion is in this forum's first page still)

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Morim
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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by Morim » Wed Apr 14, 2021 5:27 am

Fun stuff to try :)

dml
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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by dml » Fri Apr 16, 2021 5:34 am

Think I’m gonna print this and keep it close by. Lots to think about. Thanks!!
Best,

dml

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EASYBOY
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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by EASYBOY » Sat Apr 17, 2021 4:08 pm

dml wrote:
Fri Apr 16, 2021 5:34 am
Think I’m gonna print this and keep it close by. Lots to think about. Thanks!!
Good idea.

Thanks for the writeup

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electricfence
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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by electricfence » Sat Apr 17, 2021 4:23 pm

Thanks! I’m looking forward to trying these reverb patches.

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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by Bachelard » Wed Apr 21, 2021 9:01 am

Great stuff. Thanks for sharing.

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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by Bachelard » Thu Apr 22, 2021 9:20 pm

Amazing stuff. Thanks for consolidating all these ideas. Totally printing it out.

Bregnier
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Re: Assorted Techniques: Timbre, Reverb, Sequencing, Going Sequencer-less

Post by Bregnier » Mon Apr 26, 2021 9:12 pm

Nice, agree the reverb fm/ring mod patches are an instant try

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