Here is my “Electro-G” Combinator patch.
I’ve published it already on the french community site ReasonFrance.fr but never on this blog… Now it’s fixed !
Here is my patch :
I’ve just released a Propellerhead Refill dedicated to the Korg Monotron !
There are 2 Combinators :
The first one uses only one sample to mimic the real beast while the second one is a special one that uses 60 samples 16bit at 96Khz spread across 5 octave…
Yes one sample per note and each note is perfectly sliced.
Here is the download link :
I just wanted to share my impression about the Korg Monotron. The Monotron is not a joke, it’s a real analog synth !
Ok it’s small and cheap but frankly, it sounds great and I’m pretty sure that the -12db lowpass filter (same as the one on the Korg MS-20) is not stranger to this fact 😉
The design of the Monotron is very simple :
One oscillator, One LFO, One filter, 5 rotary knobs, one switch, one output, one input, one volume wheel and a ribon keyboard.
It cost only 50 euros and frankly you should not avoid such an expense !
This little thing is powered with 2 AAA battery(included) and the autonomy is far more than 8h.
The plastic case is reasonably robust for such a small toy and the rotary knobs are very precise ! The ribbon keyboard is a bit tricky to use and require some fine tuning and training.
In addition there are already some mods available and as you can see the technical schema is pretty simple!
After this apparent period of inactivity, I decided to share these backdrop.They’ve been created for my automatic EQ, but they are yours 😉
Here is a screen shot of my work ! The look is intentionally vintage !
And here are the Backdrops :
Here is a demo file with the special backdrops already assigned :
I decided to write this article because I really like GoldBaby’s work.
This time I’ll make a short review on the Tape-101 Refill.
To create the Tape-101, GoldBaby followed the same recipe as they used to… The sound pass thru the tape before being carefully sampled. The result is a set of 1658 x 24 bit samples and more than 70 Patches !
Just wanted to let you about sometings I’ve just bought and thats really impressive…
A Refill called Revolver !
Here are the main features :
sample source: 1.63 GB multisample in 24 bit wav format. All samples are perfectly looped and contain the unity note info for quick and proper automapping. The sample source is also included as a multisample library.
Dr.Rex loops: 79 melodic bass, arp & instrument sequence loops
NN-19 bank: 300 NN-19 patches in 5 categories.
NN-XT bank: 302 patches in 7 categories.
Combinator bank: 112 combi patches in 6 categories. This bank demonstrates the routing possibilities of Combinator and will definitely give you a lot of inspirations:
During this evening, I got one idea… To build a Dynamic Equaliser in Reason/Record.
But How to achieve this ? It’s very Simple, you only need, a BV512, 4 Combinators, 8 CV Splitters and 16 MClass Equaliser.
Here is a simple schema of the device :
In any case I invite you to download one of the two RNS :
A few days ago, someone asked me something interresting : why a Feedback Comb filter was producing a lowcut effect…
I took a deep breath and a few minutes to think and, I remembered myself the theory about Comb filtering and especialy this part :
The fundamental frequency of a comb filter is the inverse of the delay time. For example, if the delay time is 2 milliseconds (1/500 of a second), the accentuation occurs at intervals of 500 Hz (500, 1000, 1500, etc.), and the attenuation occurs between those frequencies. The extremity of the filtering effect depends on the factor (between 0 and 1) by which the feedback is scaled.
Source : MSP Tutorial
If I use a Comb+ filter (feedforward) and if my delai is 2 milliseconds, the first “1” will be at 500Hz and the first “0” will occurs between 500Hz and 1000Hz…
If I use a Comb- filter (feedback) with the same settings shown above, the first “0” will be at 500Hz and the first “1” will occurs between 500Hz and 1000Hz…
That’s it ! The Comb- filter is acting like a lowcut because its starts with an attenuation and not an accentuation…
I’ll try to edit this post later and give it some visual example…
Stay tuned !
I’m trying to emulate the TR-808 with a “Combinator” mainly containing some Thor synth and 2 Redrum beat box. Currently, I already have really convincing results with the “Kick”, the “Snare”, the “hit-hats”. I’m currently working on the “Handclaps” and the next one will be the “Cowbell”.
Roland’s handclap sound is made up of two elements layered together; the “strike” and the “reverb” portion. The circuitry has different sections for these, and both are triggered simultaneously. The strike is a fast envelope with four closely spaced peaks. Both the 808 and 909 use a similar scheme to generate this envelope. The strike envelope controls a VCA (using an OTA) to shape white noise. Its multiple peaks simulate a group of people clapping. The “reverb” part of the clap simulates sound bouncing off the walls of a room. Its so minimal – the white noise source is high-pass filtered, and fed to an envelope-generator and VCA… but the VCA in this case is just one transistor.
Source : Eric Archer
The Roland TR808 cowbell is the 808’s cheeziest sound, but its design is interesting to study because Roland engineers were masters of minimal analog synth design. They rolled this one up tight! … with just 2 simple chips and 4 transistors, the 808 cowbell contains two square wave oscillators, two VCAs, a triggered envelope generator, Hi-Q bandpass filter, and buffer amp.
The square wave oscillators are the usual CMOS schmitt-trigger type that you can build with 4584, 40106, 4093, etc. The schematic specifies their period instead of frequency. But you know that frequency = 1/period, so what they’re really asking for is FREQ.1 = 540 Hz and FREQ.2 = 800 Hz. These frequencies are variable with internal trim controls TM1 and TM2. As specified, the ratio of FREQ2/FREQ1 is 1.48, a detuned perfect 5th. This seems like its intentionally out of tune to enrich the tone.
Source : Eric Archer
Here is a nice “Sound On Sound” article of year 2002 : SYNTH SECRETS
I really like to work with mono samples because I master better the stereo space by re-creating this one in function of my needs. So here is a Combinator that simulate the stereo from a mono signal.
The process is very simple, I duplicate the mono signal, the first signal passes directly in a Comb filter and the second signal passes at first in a delay device before passing thru another Comb filter.
The result is a stereo signal nearly without the Chorus/Flanger effect that you may encounter if you try to mix the left channel and the right channel into a single channel. That the magic of the comb filter…
Of course you’ll have to set your own settings to achieve a good result !