some new modules:
8 lfo's with a shared slew-control to go from saw->triangle->ramp. 7 different division settings for the 8 LFO's are given by a preset-control (divisions could be altered when you embed the module->local settings). First output always is the 1/1, the others are slower depending on the preset-divisions.
LFO with 6 different waveshape outputs (sine,tri, saw, ramp, square, pulse) which can all be independently set to a harmonic based on root-rate.
kind of like the LFO above, but done with an envelope. The first envelope is triggered with each high-gate, the others are clock-divided (every n'th trigger) ánd have their attack/decay rate divided by the division-amount.
Above modules are very nice for drone-patches and work very nice with the smthRotator and smthSelector to smoothly morph the eight inputs along the eight outputs.
-dual mode envelope. The mode is controlled by the trigger-number (1 or 2, 0=off)
-tripple mode envelope. The mode is controlled by the trigger-number (1,2 or 3, 0=off)
mode3=AHR (sustain controls hold-time)
has 8 inputs and 1 output and smoothly morphs through the inputs (just a stripped-down version of the smthRotator)
not really a classical oscillator, but to me it already sounds like a classic!
The oscillator is based upon internal phase-(self-)modulation to be able to go from sine, saw, "shark" or pulse-like waveforms. Internally, a low-frequency phase-modulation can be added to create a kind of morphing "supersaw" sound.
Depending on the oversampling rate, the oscillator does sound quite a bit different as feedback paths go quicker and quicker, allowing higher frequencies to have a more correct modulation-effect (though also taking lots more cpu of course!). I'ld say this oscillator shines as a bass-oscillator!
A basskick/snare module having different parts to use as "bottom", "hit" and "noise".
Though both "bottom" and "hit" are both sinewaves, the latter can be modulated by the noise (modLvl). Also, each have their own pitch-envelope-modulation-width, though, both listening to the envelope of the "hit", and the "bottom" creates a steeper exponential curve from this "hit" envelope. Their respective envelopes do directly modulate their respective volumes. The envelope of the noise is only modulating the noise.
The noise itself exists of a pink-noise function that is modified to be retriggered by the gate, so the same noise-wave will happen at each new trigger. A seed-parameter+input allow to sequence different attacks/punches for the kick. Next to this, a phase-oscillator is added as a continuous seed for the noise (controlled by noise-pitch and pitch-envelope (punch), which gives it a bit more body at certain frequencies.
The "bottom", "hit" and "noise" all have their own outputs, so these could be independently muted/mixed/waveshaped/"use different effects" later on. Next to this, the kick also has a "bass" input and output which ducks the bass when the kick is triggered (no need for heavy-cpu side-chain compression!). This has a bassFade and fadeLvl control and the fade-curve is exponential to shortly allow more room to the kick and then quickly fade in the bass.
Cymbal/hihat generator based on a self-modulated delayline. Though it was just a try-out, it got me pretty impressed!
tripple allpass filter using three different allpass-topologies:
1=Phaser: delayline based "phaser" allpass. Delays the incoming signal at audio-frequency delaytimes.
3=(2x)6dB LP/-HP allpass: inverses the lowpass and adds back to the highpass. The toggle switch allows to do second order, creating a band-pass that is inverted and summed to LP and HP.
Sounds awesome together with the "classic" oscillator. The phaser and biquad-allpass are written as functions in the "local data", so these could be easily copied and used in your own modules! (eg. I heard some requests for allpasses in reverbs? )