PSYN-tology 2 [...--.---..-]

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b rock
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2004/07/30 22:00:52 (permalink)

PSYN-tology 2 [...--.---..-]

Can't resist. Here's another patch that reinforces some of the concepts introduced in PSYN-tology 1 [Echoes]. Load up the 'Morse Code' patch [...--.---..-] from the downloadable patches.

Here we have a fixed pitch courtesy of the Osc 1 settings of +2 octaves and -4 semitones in concert with the Keys disabled. Notice that the LFO Mod Sens is at 100%, allowing the LFOs to have the maximum (pitch) effect on this oscillator (but ...why?)

Move on to the filter section. This time the filters are configured in parallel, allowing two separate streams side by side to pass your signal. Cutoff Frequency on the Highpass section is set to maximum, allowing only very high frequencies through. The second Lowpass filter is set moderately high, but, as we'll see, this is really the center frequency that will be knocked around by an LFO. The settings are such that a change to a Serial mode will obliterate any sound passing through (the first 'floodgate' door has obscured the second 'floodgate' door; nothing escapes).

The key to this one is LFO 3. It's set to affect the CF of the second filter in a random fashion at a maximum Depth, both in the LFO section and the Modulation 'matrix'. The latter routes the control (not audio) signal from the LFO to a particular destination (the 'controlee'). It has an identical counterpart in the Envelope Generator section. If you set the Destinations to Pitch, the levels of interaction are regulated by the EG and LFO controls in the Oscillator sections. For some reason, the Sync box in LFO 3 is set to 1/8 note, just in case you find it musically useful to send an S.O.S. locked to the tempo at your next gig.

The end result of this is that the LFO allows some static notes to jump out randomly, simulating a telegraph sound.
Western Union: Hooked. STOP. Can't stop writing tutorials. STOP. One typing hand tired. STOP. See you next time. STOP.
#1

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    Far Left Corner
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    RE: PSYN-tology 2 [...--.---..-] 2004/07/30 22:10:01 (permalink)
    b rock,

    Thanks for these 2 tutorials (reverse engineering classes...Sadly I am at work now, but have printed and will heed your advice and go study these in front of my P5.

    These both appear to be well written, but will have a zillion responses tomorrow after "hands on" with them.


    Again....a sincere thanks to you.
    < Message edited by Far Left Corner -- 7/30/2004 10:13:32 PM >
    #2
    Digital Aura
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    RE: PSYN-tology 2 [...--.---..-] 2004/08/01 15:17:04 (permalink)
    ORIGINAL: b rock

    Can't resist. Here's another patch that reinforces some of the concepts introduced in PSYN-tology 1 [Echoes]. Load up the 'Morse Code' patch [...--.---..-] from the downloadable patches.

    Here we have a fixed pitch courtesy of the Osc 1 settings of +2 octaves and -4 semitones in concert with the Keys disabled. Actually its just the keyboard tracking button that does this?? Notice that the LFO Mod Sens is at 100%, allowing the LFOs to have the maximum (pitch) effect on this oscillator (but ...why?) SO this is the level adjuster for LFO? How does this differ from the DEPTH setting in the MODULATION section? and... what does the EG knob do in MOD SENS?

    Move on to the filter section. This time the filters are configured in parallel, allowing two separate streams side by side to pass your signal. Cutoff Frequency on the Highpass section is set to maximum, allowing only very high frequencies through. The second Lowpass filter is set moderately high, but, as we'll see, this is really the center frequency that will be knocked around by an LFO. The settings are such that a change to a Serial mode will obliterate any sound passing through (the first 'floodgate' door has obscured the second 'floodgate' door; nothing escapes).

    The key to this one is LFO 3. Again, why not LFO 1? or 2? It's set to affect the CF of the second filter in a random fashion at a maximum Depth, both in the LFO section and the Modulation 'matrix'. WHAT MATRIX? WHERE ARE YOU? Whats that smell!? oh...its my n00bIneSs! The latter routes the control (not audio) signal from the LFO to a particular destination (the 'controlee'). Its too late for me...save yourself!! .. go... It has an identical counterpart in the Envelope Generator section. Yeah...I dont get this. Why are there two? If you set the Destinations to Pitch, the levels of interaction are regulated by the EG and LFO controls in the Oscillator sections. For some reason, the Sync box in LFO 3 is set to 1/8 note, just in case you find it musically useful to send an S.O.S. locked to the tempo at your next gig.

    The end result of this is that the LFO allows some static notes to jump out randomly, simulating a telegraph sound.
    Western Union: Hooked. STOP. Can't stop writing tutorials. STOP. One typing hand tired. STOP. See you next time. STOP.



    Told you I was n00b. This tutorial lost me completely...I'm now drowning in a pool of my own noobiness. Sinking...swirling...so much to learn...complicated. Matrices and Modulations... LFO's and computations...pulling me under...the ebb and flow of synthesized, computerized, up-past-my-eyes complications. The DEPTH of mod... too deep...too deep.. I sink endlessly into the DEPTHS of the modulation destination....whatever that means. I dont know. Only B-Rock knows.

    He is the master. Hey Tom...can you possibly help me out here? I dont understand the modulation sections of EG and LFO. Yeah...you can modulate EG and LFO separately...ok...but so many knobs...cant get my head around it.
    < Message edited by Digital Aura -- 8/1/2004 3:21:41 PM >


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    b rock
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    RE: PSYN-tology 2 [...--.---..-] 2004/08/01 16:38:36 (permalink)
    Actually its just the keyboard tracking button that does this??
    Yes. The button disconnects the oscillator from your keyboard input, leaving the basic pitch set in the Octave and Transpose section. It has it's uses, especially when you're using oscillator modes that join two oscillator functions together, like Sync, Ring, L-FM, and E-FM. More on this soon ...
    SO this is the level adjuster for LFO? How does this differ from the DEPTH setting in the MODULATION section? and... what does the EG knob do in MOD SENS?
    This regulates the amount of modulation sent to that particular oscillator from all of the LFOs. The Depth setting is ahead in the same signal path, regulating the amount of modulation sent out from that particular LFO to all the oscillators. Think of it like a mixer, with slightly different routing possibilities: the Trim control being ahead of a Track fader. The EG knob in the Mod Sens section regulates the amount of envelope modulation to that oscillator from all four of the independent EGs. [EG A is hard-wired to overall amplitude.] Edit: You can also send from the EG A to any destination. It just happens to also control your 'loudness over time with the same envelope settings.
    Again, why not LFO 1? or 2?
    In this case, it was just a programming choice. It could've been any LFO; I just have a problem with how the various LFOs' readouts conflict with reality.
    WHAT MATRIX? WHERE ARE YOU?
    I'm in Florida. <g> But Modulation matrix is a common term in synths for where a control source gets routed to a destination. Many are laid out in an actual X-Y grid. PSYN's modulation is a bit less intuitive, but I'm always referring to the Modulation section of an EG or LFO. The 5 EGs have 2 possible slots with a Depth control each and you choose one of 15 destinations (or Off). The LFOs use 3 slots for the same 15 destinations.
    Yeah...I dont get this. Why are there two?
    One is for routing the LFO out to the various synth sections; the other for routing the envelope. Not to be confusing, but there are actually 8: one in each of the three LFOs, and one in each of the five EGs.
    Its too late for me...save yourself!! .. go...
    Stick with me, Digi. We're getting out of this one ... alive.
    This tutorial lost me completely...I'm now drowning
    That means that I haven't done my job correctly. I had a feeling that I was trying to pack too much information into some short posts. That's why I backed up on PSYN-tology 6 to flesh out the LFOs. I should do the same for the Envelope Generators. I'm a noob, too, at writing tutorials. This kind of feedback will help me to adjust my strategy as we progress here. Thanks for the reaction shots; I hope that I shed some light on your questions. Did the LFO Explained post help any?
    < Message edited by b rock -- 8/2/2004 4:47:11 PM >
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    Digital Aura
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    RE: PSYN-tology 2 [...--.---..-] 2004/08/02 09:15:25 (permalink)
    I havent got that far yet...so I'll dabble some more in this one (#2) and then forge ahead...Im taking it slower so I don't miss anything! Thanks for coming back for me!


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    Dennis Carlyle
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    RE: PSYN-tology 2 [...--.---..-] 2004/08/03 16:16:53 (permalink)
    Thanks for these, b rock! I'm sure I'll learn a lot from reading them and checking out your suggestions for tweaking the example patches to understand how the various elements are combining to produce the overall effect. Even though the details are all there in the on-line help, there is a great deal of difference between that level of abstraction and your "hands-on" description of a patch.
    #6
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