Awesome! Dunno why I hadn't thought of slightly modulating pitch from noise or random LFO. I recently got an 80's polysynth and to have some fun uploaded a short video live playing a patch on it then asked people on Reddit and Elektronauts to guess what it was. (It's a Casio HT-6000, 4 DCO, 8 voice, 8 analog filters, analog chorus, pretty rare, been after one for years because it's oddball) Anyway people guessed all sorts of real analog things - most probably because I assigned a very slow sine LFO to drift the pitch - I was trying to hide it's DCO nature. But I'm going to try your method now instead, small random movements are going to work a lot better. Great tip.
I want drift when I want drift. Yes, beating can be beautiful, but beating in itself, as you sort of demonstrate with a better set of modern digital oscillators, could be done on eight-bit, first-gen digital synths. Analogue sound is about smooth linear variability, and that is what distinguishes analogue sound. Over time, digital tools have become vastly better at approximating this natural smoothness. Regardless of the synthesizer, there is no need to have slop or drift when you have a lot of other movement programmed into a sound. In fact, drift in a complex patch just makes a muddy, broken-sounding patch, even on an analogue synth. We want our analogue gear to be in tune so we can decide when we need that natural chorusing. What can be frustrating with old synths is that frequently they do break. An out-of-tune synth that resists tuning becomes less fun pretty quickly, especially if one remembers it as a beautiful-sounding machine before it developed components that had fallen out of specification. We are, however, only two videos into this. Let us proceed.
I have used this trick for years to simulate oscilator drift. My older hybrid synth has "noise" waveforms which are actually digital, and therefore repeating. That makes for some very interesting LFO modulations that aren't really random, but nonetheless have their own character.
Marc baby, I have some insane patches to share with you. how can I get them to you. I've been working on custom patches every day for weeks and they are EPIC. and they have the above "lesson" put into them. I tried to post a link on here but got the boot haha so if you a way to get you them or how I can share, let me know.
Awesome! Dunno why I hadn't thought of slightly modulating pitch from noise or random LFO. I recently got an 80's polysynth and to have some fun uploaded a short video live playing a patch on it then asked people on Reddit and Elektronauts to guess what it was. (It's a Casio HT-6000, 4 DCO, 8 voice, 8 analog filters, analog chorus, pretty rare, been after one for years because it's oddball) Anyway people guessed all sorts of real analog things - most probably because I assigned a very slow sine LFO to drift the pitch - I was trying to hide it's DCO nature. But I'm going to try your method now instead, small random movements are going to work a lot better. Great tip.
Thank you!
Being in tune is a bourgeois concept
Being in tune is a physical concept.
I want drift when I want drift. Yes, beating can be beautiful, but beating in itself, as you sort of demonstrate with a better set of modern digital oscillators, could be done on eight-bit, first-gen digital synths. Analogue sound is about smooth linear variability, and that is what distinguishes analogue sound. Over time, digital tools have become vastly better at approximating this natural smoothness. Regardless of the synthesizer, there is no need to have slop or drift when you have a lot of other movement programmed into a sound. In fact, drift in a complex patch just makes a muddy, broken-sounding patch, even on an analogue synth. We want our analogue gear to be in tune so we can decide when we need that natural chorusing. What can be frustrating with old synths is that frequently they do break. An out-of-tune synth that resists tuning becomes less fun pretty quickly, especially if one remembers it as a beautiful-sounding machine before it developed components that had fallen out of specification.
We are, however, only two videos into this. Let us proceed.
I have used this trick for years to simulate oscilator drift. My older hybrid synth has "noise" waveforms which are actually digital, and therefore repeating. That makes for some very interesting LFO modulations that aren't really random, but nonetheless have their own character.
Oscillator drift is life!
Dave put oscillator SLOP on the Prophet 08 back in 2008.. it also has 4 LFO's and a huge modulation section..
Marc baby, I have some insane patches to share with you. how can I get them to you. I've been working on custom patches every day for weeks and they are EPIC. and they have the above "lesson" put into them. I tried to post a link on here but got the boot haha so if you a way to get you them or how I can share, let me know.
Down with 440Hz 😉
Only needs to 'average' 440Hz :)
think you had the slop high on osc 2 when you made it noise
Slop causes slow variations in pitch