Even at minimum values though, you still hear things are not totally perfect between voices, but pretty tight.ĭrift. After 1 or 2 o’clock, things are wildly out of tune and the envelopes and filter are extremely sloppy. This is also basically what the Vintage knob on my Prophet-10 Rev 4 seems to be doing: applying wider and wider offsets to tuning, envelope timing, filter cutoff, resonance, maybe even env depth. Some synths like the Jupiter-4 or Oberheim OB series allow you to modify the voice cards to your liking by changing the calibration of each voice. These offsets are usually static (ish - I’m sure they’re not 100% never moving but it probably happens more over a longer period of time). Per voice offsets, which you will get on polyphonic synths with discrete voice cards or chips. This is my approach at the moment for Decay and Release on both Envelopes and Cutoff and Resonance on the Filter. ![]() I really like that and would really love to see this integrated in a few polyphonic modules to reduce the clutter and to be able to use the dial on the module itself. And the deviation amount can be set with attenuated CV and you can even reseed the deviation if you want to change the pattern. LindenbergResearch Spreader does exactly that, the spread is static. There is a pattern that is repeated every sixth gate or every third gate when you play simple intervals or every second when you play a triad. And that has a very musical effect with let’s say a single note played on a six voice analog synth where every note is assigned to the next polyphonic channel / voice card. If you think about the voice cards in an analog synth: There is one card, that is always 3 cents sharp and has an envelope with a 5% longer decay and release, while the filter is 4% less resonant as the next one. That is a nice setup, but with one misconception. With the Prophet’s voice assignments, sometimes you’ll just get a bum note repeating every time you play it because maybe voice 6 is getting assigned to B4 and that voice is a little flat but the envelope is a little longer than the others so it really sticks out.Īnyway, I really think it should be up to the developers to figure out ways to do this (if they so chose) or for users to replicate this via modules as has been proposed here. On my Prophet-10 Rev 4, you really hear the filter cutoffs and envelope offsets quite audibly. For instance, in polyphonic synths with decent tuning, it’s more often an offset than a completely random tuning thing (though the tuning of an osc may still drift). …Different developers may implement things differently. Polyphonic Envelope module applies per voice offsets to attack and release times… Polyphonic Filter module does the same, only with offsets for Cutoff, Resonance, CV depth…again, can be a dropdown option or can be a Slop or Offset knob. Polyphonic Oscillator module takes in a polyphonic CV signal and has an option to apply per voice offsets or maybe even has a “Slop” type of knob on the GUI to control depth. Here’s my take on it: this shouldn’t be built into Rack itself, but clever developers would build per voice offsets as options into their modules.
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