Some Rapture Patches...

Let me know what you think, and if you have any suggestions on making these patches better.

Good job, Eric. There's some nice evolving development here, with percussive attacks and sustaining elements. At first listen, I'm leaning towards the "Old Stars" and "Universal Memories" patches. I love the sound of those BigTone samples, and how you bent the saw into "outer space". You're not afraid to layer several saw Elements to achieve an effect; in this case, stacked octaves.

One very small point, if you don't mind. The looping segments in some of the Amp EGs are redundant. If you're looping back in a segment to a single node, and the levels are identical, you can get the same results from just using the sustain point. In other places, an "extra" node is put to great use: you cause the overall envelope shape to divert exactly where you want it to. The multi-attack filter EGs are very effective as well.

Nice phat bass patch, too. Old school elements here: the "pitch glitch" and quick sweep filter attack on low-harmonics oscillators. And that keeps everything relatively centered, even with detuning. Good selection of usable stuff here, Eric. Keep up the good work.

I went to ebayer's profile, found the web site [here], and clicked on the 'mu' icon (Music and Sound). The Rapture patches are under Sound Banks and Patches, about 2/3rds of the way down.

Sorry to be an idiot but where to download these ?

I added the link to my original post. This will definately teach me not to post right before going to bed.

If you're referring to the 3 separate peaks in the cutoff, that was on purpose.

I realize that, Eric. That's what I meant by the effective use of "multi-attack filter EGs". You struck me as a meticulous person, so I wanted to point out what I saw in the Amp EGs. Specifically, I see the same type of setup in E1 & E2 of Babbling Stars (both 1 & 2), as well as E2 of Universal Memories and Old Stars. I'll use this last one as a specific example.

"Solo" E2 with the Mixer switches in Old Stars, and go to the Amp EG. There's four total nodes (including the default node). #1/3 is at 230.6 ms. in the timeline, and serves as the "loopback" node. #2/3 is at 498.7 ms., and forms the sustain point. Yet both are at a full level of 1.000. So you reach the sustain point, and loop to #1/3 and back again. You'll get the same results by hovering over #1/3, pressing "L" to disable the loop, and relying on just the sustain point.

But, if you leave it as programmed, hold the Ctrl key (as to not disturb the other nodes), and add a new node midway between the other two, then the loop becomes more useful. While still holding Ctrl, drag this new node down to a level of 0.000. Now when you hold a note value, this loop gives a tremolo effect; defined by the levels and timeline positions of all three nodes, and their segment shapes.

Does that make sense? As I said above, this is a fine point, and it doesn't affect the overall sound as it stands. I just thought that you might be interested in this programming nuance and its possibilities for use in later patch constructions. Good patches, man. Sawtooths give you a lot to work with.

in E1 of Old Stars, wouldn't that be different to removing the node previous to the sustain point because it will guarantee a minimum held time versus only peaking and then dropping immediately with staccato notes?

Agreed. That serves to "flatten" the overall curve formed by Node# 0/3 - #2/3 and their segments. The same could be said for removing the nodes in those other Elements that I mentioned, instead of just disabling the loop.

I see now that you just got caught in the cleanup process. Believe me, it happens to me all the time. You think that you've covered everything, ship it out, and fresh eyes reveal that you got your nodes crossed somewhere along the way.