For the melodic / whale voice : the VCO is the one on the middle (of the group of five side to side). The pitch is controlled by : - a (1036) S&H (black cable on FM 1 input), attenuated so that it covers a range of about two octaves, - a triangle LFO (orange cable on FM 2 input), strongly attenuated, so that it moves the pitch by only a few semitones. I'm trying something similar, with a sine instead of the triangle LFO, in the upcoming « n°160 » (i'm editing it right now). For the inharmonic voice : it's a combination of two VCOs. The first one goes to the input of a 1047 filter. The second one goes through a 1005 VCA and then to the FM input of the filter. There are three random modulations (from S&Hs) : the pitches of the two VCOs (with no attenuation, and the frequencies of the VCOs set quite low so that, with a negative voltage from the S&H, it can reach the LFO range), and the third random modulation is for the VCA (thus controlling the amount of FM on the filter). A LFO is modulating slowly the resonance level of the filter. And for better results, you may duplicate the different input signals and send them to several 1047 filters, with increasing cutoff frequencies : the first one will be a LP, and the others BPs. Which makes a little filter bank (here i'm using just two). I've experimented with several combinations of wave shapes for the two VCOs (see for instance n°153, n°154 and n°155).
acuatics sounds
OK, I need some lessons on 1) your inharmonic patch setup. 2) what drives the pitches (as well as the pitch mods (whale sounds)).
For the melodic / whale voice : the VCO is the one on the middle (of the group of five side to side). The pitch is controlled by :
- a (1036) S&H (black cable on FM 1 input), attenuated so that it covers a range of about two octaves,
- a triangle LFO (orange cable on FM 2 input), strongly attenuated, so that it moves the pitch by only a few semitones.
I'm trying something similar, with a sine instead of the triangle LFO, in the upcoming « n°160 » (i'm editing it right now).
For the inharmonic voice : it's a combination of two VCOs. The first one goes to the input of a 1047 filter. The second one goes through a 1005 VCA and then to the FM input of the filter. There are three random modulations (from S&Hs) : the pitches of the two VCOs (with no attenuation, and the frequencies of the VCOs set quite low so that, with a negative voltage from the S&H, it can reach the LFO range), and the third random modulation is for the VCA (thus controlling the amount of FM on the filter). A LFO is modulating slowly the resonance level of the filter.
And for better results, you may duplicate the different input signals and send them to several 1047 filters, with increasing cutoff frequencies : the first one will be a LP, and the others BPs. Which makes a little filter bank (here i'm using just two).
I've experimented with several combinations of wave shapes for the two VCOs (see for instance n°153, n°154 and n°155).
@@lnefpd Can't wait to try this out! Thanks.