On 6/2/07, Loscha
I'd love to see your code, Kassan.
Cool, I'll make a nice version of it tomorow (dog-tirered now) and share it. I found that varying the Blit Saw, I was able to get somewhere in the
range of timbre I wanted for trying to do a TB-303 type device. I wasn't too successful, but, I think that this is where one would start if you were to be a bit more serious about it. It's a future idea for me to work on. It was interesting to use Blit Saw and Square waves to test the upper limits of whatever speaker system I was using, and headphone types and such (and my own hearing, also!).
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. I need to experiment with the waveshaping functions to get a
distortion that I am happy with. I know people have done a lot of work with this in CSound, but, the type of distortion I like (the Boss Metal Zone) would perhaps be better acheived band-splitting the signal, and then distorting and then combining again. I haven't attempted this yet. I know the *theory* of what I want to do, and I own the Metal Zone service manual. Maybe I'll wait for ChucK version 6.2 when I can input specific electronic components :P
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. 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, You're probably aware of how a single impulse => highly resonant filter
is exactly how many voices on analog drum synths work. I suppose I should get around to having a go at making a drum synth that performed like that. Randomizing the "components" at startup might prove useful in humanizing the tone a little bit, as well as adding a low noise floor, to alter the zero crossing stability whotzit.
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. Yours, Kas.