On 6/2/07, Loscha <loscha@gmail.com> wrote:

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.