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Question about very low bassline
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daark
IsraTrance Full Member
Started Topics :
58
Posts :
1397
Posted : Sep 15, 2010 12:03
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| you don’t really get the frequencies you program. |
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what? why? if you set everything good in the patch.
the worse you get is some artifakts at highs or lows.
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| Can you do key-follow outside the synth? |
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No. I meant to set the cutoff freq to follow so it wont create any wierdness when you play other higher notes.
some people don't get that eq is fucking the phase of the sound.
  http://soundcloud.com/magimix-1/chilling-forest-whispers
Wierd shit happens :) |
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kotton
Started Topics :
4
Posts :
105
Posted : Sep 23, 2010 00:15
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Im still chewing the knowledge you gave me.
And this crazy EQ surgery. Sometimes it gets me nowhere and sometimes I get quite good results. But I think I have really moved on with my bass thanks to you.
Cheers!!
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daark
IsraTrance Full Member
Started Topics :
58
Posts :
1397
Posted : Sep 23, 2010 09:53
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On 2010-09-23 00:15, kotton wrote:
Im still chewing the knowledge you gave me.
And this crazy EQ surgery. Sometimes it gets me nowhere and sometimes I get quite good results. But I think I have really moved on with my bass thanks to you.
Cheers!!
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so what you've learned??
we may learn from your expereince too 
http://soundcloud.com/magimix-1/chilling-forest-whispers
Wierd shit happens :) |
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : Sep 23, 2010 10:10
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On 2010-09-15 12:03, daark wrote:
Quote:
| Can you do key-follow outside the synth? |
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No. I meant to set the cutoff freq to follow so it wont create any wierdness when you play other higher notes.
some people don't get that eq is fucking the phase of the sound.
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If you set your filter to follow the keyboard, you will get more top end when you play higher notes (for a +ve modulation index). That may not be desirable, certainly not in my case.
Other than that, the weird resonances about the cut off frequency (I always use a 24dB/8ve LPF for bass lines and the higher the slope, the higher the ringing/phase distortion of the signal), will be more "stable" since the filter cut off frequency, is the same for every note you play in your riff, hence its easier to get rid off.
http://soundcloud.com/martianarts |
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daark
IsraTrance Full Member
Started Topics :
58
Posts :
1397
Posted : Sep 23, 2010 10:55
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i set the cuttoff set the filter envelope envelope amout and key follow amount...i use generaly 12db lp.
the result i get has no ringings as have no resonanse. and the volume and spectrum is still for 2 octaves. no compression no eq, nothing. just
a saw wave. and i really like the result.sense eqing killed my bass too often...i now avoid messing around with already good sound.
[quote]
If you set your filter to follow the keyboard, you will get more top end when you play higher notes (for a +ve modulation index). That may not be desirable, certainly not in my case. [quote/]
you can set the key follow to negative values too. that will get you less high frequncies as you go up.
http://soundcloud.com/magimix-1/chilling-forest-whispers
Wierd shit happens :) |
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : Sep 23, 2010 13:14
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Quote:
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On 2010-09-23 10:55, daark wrote:
you can set the key follow to negative values too. that will get you less high frequncies as you go up.
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And get more top end at the lower notes, which again is not the way to program a synth patch when I want a consistent amount of harmonics, regardless of the notes I play.
http://soundcloud.com/martianarts |
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daark
IsraTrance Full Member
Started Topics :
58
Posts :
1397
Posted : Sep 23, 2010 14:23
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There is a danger, especially with a keyboard of considerable range, that having a fixed filter cut-off point will cause large tonal differences between high and low pitches. This is not always required. For example, consider simple square waves of fundamental frequencies 110Hz (A2), 220Hz (A3) and 440Hz (A4). Without filtering, all the waves will sound identical in timbre despite their pitch differences. If, however, a cut-off point is fixed at 1000Hz then the number of harmonics allowed to pass differs greatly for each note. (See Fig 3).
In this somewhat drastic example the fixed cut-off point for the filter turns the note A4 into a simple sine wave since only the fundamental frequency is allowed to pass. In the case of the note A2 the filter allows a rich harmonic mix (up to the 9th harmonic) to pass. To get round this, however, using the value of the Pitch CV, the cut-off point can be made to track up and down in relation to the note played. This is known as KEY FOLLOW and maintains the timbre of a sound across a large key range. In practice, far from becoming increasingly mellow as the frequency rises, as in the example, the timbre of an instrument is likely to become even brighter as the pitch rises - think of the contrast between a flute's mellow lower register and its shrill top notes.
just the opposite of what u say
http://soundcloud.com/magimix-1/chilling-forest-whispers
Wierd shit happens :) |
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : Sep 23, 2010 15:14
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Quote:
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On 2010-09-23 14:23, daark wrote:
There is a danger, especially with a keyboard of considerable range, that having a fixed filter cut-off point will cause large tonal differences between high and low pitches. This is not always required. For example, consider simple square waves of fundamental frequencies 110Hz (A2), 220Hz (A3) and 440Hz (A4). Without filtering, all the waves will sound identical in timbre despite their pitch differences. If, however, a cut-off point is fixed at 1000Hz then the number of harmonics allowed to pass differs greatly for each note. (See Fig 3).
In this somewhat drastic example the fixed cut-off point for the filter turns the note A4 into a simple sine wave since only the fundamental frequency is allowed to pass. In the case of the note A2 the filter allows a rich harmonic mix (up to the 9th harmonic) to pass. To get round this, however, using the value of the Pitch CV, the cut-off point can be made to track up and down in relation to the note played. This is known as KEY FOLLOW and maintains the timbre of a sound across a large key range. In practice, far from becoming increasingly mellow as the frequency rises, as in the example, the timbre of an instrument is likely to become even brighter as the pitch rises - think of the contrast between a flute's mellow lower register and its shrill top notes.
just the opposite of what u say
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Yes it is the opposite, because I am not trying to convisingly synthesize a flute sound, I am making a bassline and when I am making a bassline I want the filter to always allow the same number of harmonics (in amplitude as well) to pass through, regardless of which note I am triggering.
Making basslines has nothing to do with trying to recreate the intricancies of a real, say, woodwind instrument.
I can't explain this any better.
http://soundcloud.com/martianarts |
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