<br><br><div><span class="gmail_quote">On 6/2/07, <b class="gmail_sendername">Loscha</b> <<a href="mailto:loscha@gmail.com">loscha@gmail.com</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I'd love to see your code, Kassan.</blockquote><div><br>Cool, I'll make a nice version of it tomorow (dog-tirered now) and share it. </div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I found that varying the Blit Saw, I was able to get somewhere in the<br>range of timbre I wanted for trying to do a TB-303 type device. I<br>wasn't too successful, but, I think that this is where one would start<br>if you were to be a bit more serious about it. It's a future idea for
<br>me to work on. It was interesting to use Blit Saw and Square waves to<br>test the upper limits of whatever speaker system I was using, and<br>headphone types and such (and my own hearing, also!).</blockquote><div><br>
I think they are great. Varying harmonics is a nice fresh way of modulating timbre and of cource as long as you keep the number down there won't be any aliassing so that's a nice free-be.<br> </div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I need to experiment with the waveshaping functions to get a<br>distortion that I am happy with. I know people have done a lot of work<br>with this in CSound, but, the type of distortion I like (the Boss<br>Metal Zone) would perhaps be better acheived band-splitting the
<br>signal, and then distorting and then combining again. I haven't<br>attempted this yet. I know the *theory* of what I want to do, and I<br>own the Metal Zone service manual. Maybe I'll wait for ChucK version<br>
6.2 when I can input specific electronic components :P</blockquote><div><br>I've been meaning to try wave-shaping using that new function meant for shaping the curve of input signals. that one should be capable of some nice stuff though the CPU load at audio-rate might be high.
<br> <br>There's another way that I've been meaning to try to implement but the principle is by a friend of mine and I need to check with him before writing publicly about it. Either way that's a nice field to do some ChucKing in,
<br><br></div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">You're probably aware of how a single impulse => highly resonant filter
<br>is exactly how many voices on analog drum synths work. I suppose I<br>should get around to having a go at making a drum synth that performed<br>like that. Randomizing the "components" at startup might prove useful
<br>in humanizing the tone a little bit, as well as adding a low noise<br>floor, to alter the zero crossing stability whotzit.</blockquote><div><br>Yeah, I'm aware of that.... Actually I tend to work with that principle a lot in my music, I'm realy into things like parametric EQ's with extreme settings. You can do a lot in the way of intonation by controlling the exact kind of impulse used. I did some pieces where I excited resonators using traditional drum-kits. It's quite amusing how highhats can turn into ways of bowing a "violin" that way.
<br><br>Yours,<br>Kas. <br></div><br></div>