SirSickSik Contributions

[SirSickSik]

and a sequencable variant with up to 8 bands and 16 randomisable presets
shows how to make use of the different filters
Note that the whole track is driven by a single saw oscillator!

equal EQ0.1.axp (50.4 KB)

[SirSickSik]

and another step in the equal-amplitude EQ.. lets let it glide and use envelopes on the seperate bands!
and several other useful modules that come along with it
Time for some acid!

debug update2
equal amp EQ morphed.axp (80.9 KB)

[hitachii]

The TZMMF object is insane. Played around with some heavy reverb while modulating the filter and resonance and got some terrifying (in a good way) haunted forest sounds out of it. That's just on the first mode, haven't even toyed around with the others yet!

[SirSickSik]

And a nice DJ-style stereo filter along the architecture of the eurorack "overseer" module of WMD to put at the end of your mix.

It's a quad filter that outputs the input through to the output when "center" is at zero (though resonance is still hearable and lp/hp offset can be added/subtracted in which case you do hear a difference at zero), but removes the lows when going higher in cutoff and removes the highs when going lower in cutoff.

Tilting options and lp/hp offsets are included to create a nice stereo field, turn it into a bp (turn up hp and turn down lp) or widen the center where's no response and limit the cutoff range (so it doesn't go as far down/up).

Mute function is filtered at audio rate and works as a (fast) crossfader, so you can drive it with fast gates for some kind of amplitude modulation.

Highpass filter can be oversampled so it can filter out all high frequencies at 4x oversampling (lowpass filter always filters out all frequencies at low cutoff, but this can be changed by setting "lp" to a higher value even though this means the lp filter will kick in later).

mix out filter.axp (28.2 KB)

[SirSickSik]

and a stereo oscillator to play around with
together with the morphing EQ it's a fun sound generator that goes all over the stereo field!
Try out a XY-scope on the oscillator itself to show it's "image generator" on your computer (if you have one that is... otherwise you might want to try the "soundcard scope" of C. Zeitnitz)

stereo image osc 3.axp (47.2 KB)

[SirSickSik]

btw, for the non-coders overhere...
I have quite a lot of oscillators, but not really a lot of LFO's in comparison.
but... if you like the waveforms coming out of an oscillator, you can try to copy the code that's in the a-rate code over into the k-rate code.
Then change all the audio inputs&outputs to fractional (so turn each red in/output into a blue in/output).

Often you will want to take down the frequency a couple of octaves. Then search for the place where the frequency is calculated, which is "MTOFEXTENDED(.......,.......)" (eg. MTOFEXTENDED(param_pitch,freq)).
Copy what's in the second half (in this case "freq") to the line below it and add ">>A" where A is the amount of octaves you want to lower the frequency.

"freq=freq>>8;"
or eg. in case of tables where "i" is used for selecting the index of the table: "freq[i]=freq[i]>>8;"

Et voilá, you just turned an oscillator into a LFO, together with all it's possible waveshapes and controls!

[MattilynMattroe]

Thanks for this, have been playing around coding lfos, and this gave me some ideas.

Though I've been having tons of fun modulating the TZMMF filter with oscillators recently! Pitch detector on input controlling 2 different oscillators offset by an octave into the fm input, sounds awesome!

[Blindsmyth]

mix out filter.axp (28.2 KB)

looks very promising, this was much needed. Especially that it can be a full range hp filter.

[SirSickSik]

the problem for a highpass filter is that the samplerate combined with the highest value output of the frequency calculation "MTOF(...,...)" is too low to be able to filter out all high frequencies, but if you oversample a highpass filter about 4 times, it should be able to make the difference between the LP-filter and the input so small, that it effectively filters out all frequencies. To create oversampling on any (in this case highpass) filter, try putting a code within a for-loop like this:

for(int i=0;i<4;i++)
{
val=___SMMLA(inlet _in - val<<1,f,val);
}
outlet_out=inlet_in-val;

note that I had to add a space between "inlet" and "_in", otherwise the browser won't display the underscore.. but of course, they should be connected without the space in the actual code.
You can of course add an integer controller instead of "4" to set it to any oversampling you like (lowest number should be 1, otherwise the loop stops before it has done anything).

[SirSickSik]

Somebody in a synthedit forum asked for a way to create a polyphonic portamento, so I gave him a few tips out of my head for a work around to get it to work. This soon led to some more ideas which could be done with the work around after which I thought.. hmmm, let's actually try this out for the axoloti.. itz nice
also has several other interesting modules I wrote on the fly
-simple clock lfo with pulsewidth controlled offbeat and humanize settings
-velocity sensitive ADSR with a nice twist
-randomisable integer table generator and readout in one
-delay with a 4-bit "sequencer"-parameter to set lightgrey/darkgrey/black delaytaps, each with their own timing interval (interval*tapnumber), panning and level. With each next tap of the same color, panning of that color swaps.
so all lightgrey, darkgrey and black taps will pingpong, but each at their own rhythm set by the tap-"sequencer".

random previous note portamento.axp (76.4 KB)

[SirSickSik]

and as requested by philoop, a soft-syncable lfo that can be used with an external midi clock.

soft sync lfo.axp (21.3 KB)

[SirSickSik]

4 types of midi note priority:
last, lowest, highest and loudest

midi note priority.axp (53.1 KB)

[SirSickSik]

several new modules for:

-creating melody patterns that go back to 0 (root) at the end of the counter.
-randomisation of 4 values with shared selectable minimum and maximum value
-xy-shape lfo, based on sine&cosine pair, it crossfades between points on the circle.
So when steps is set to 5 and skip to 2, it generates a pentagram movement.
-2 versions of synced "timbre" sine oscillators with self-fm. For generating a peak in the spectrum and then use the internal FM oscillator to create overtones and undertones around this peak.
-4-tap pingpong delay with individual panning and filtering for each tap
-sine lfo's (still called saw though haha), that randomly update their harmonic ratio at each cycle. Wob Wobwob Wobberdi Wob!
-interpolated audio crossfader
-and some more editted modules I guess..

peaks0.3.axp (103.3 KB)
and a small update:
peaks0.4.axp (126.8 KB)

[SirSickSik]

number finger trigger.axp (20.5 KB)

triggering samples with the number keys of the keyboard
Perhaps useful for creating drum rhythm presets by playing and recording the triggers?

[SirSickSik]

NEW MODULE

Were you ever frustrated about your bass only being useful as a bass in just a single octave on your keyboard?
Then frustrate no more! Here's the forever bass oscillator!

Functioning like a kind of sheppard tone generator, this oscillator will make sure the produced sines are always within the same octave range set by the bass-pitch. Whenever one of the sines will go out of the range, it will fade out while a new lower frequency sine fades in.
Both pitch and bass frequencies can be glided independently, creating sheppard tones. So while the key-frequency (like the note within the octave) glides up, the actually created octave range might glide down, stay the same or follow less steep.

Three versions of the oscillator are provided:
v1: a dedicated version for creating your bass with a high-precision sine (SINE2TINTERP() ), continuously crossfading 3 sines.
v2: a version with self-fm using the "sinet[]" table for being less cpu intensive, also continously crossfading 3 sines. With the self-fm, the waveform can be rectified and have a phase-morph to allow for a kind of pulse-width modulation for saw, peak or pulse waveforms. The external fm allows for metalic and bell sounds.
v3: same as v2, but with an adjustable range for the amount of crossfading sines (2 up to 6)

So wherever you play on the keyboard, the bass-oscillator will always play in it's bass octave while the other two oscillators allow for adding overtones in specific regions depending on the place on the keyboard and modulation settings.

forever bass.axp (30.1 KB)

[SirSickSik]

forever bass.axp (67.3 KB)

with some things added like modulations and sequences to create accompanying drums

[hitachii]

We're living in 2021, while SSS is in 3030 making Sheppard Tone base modules.

[SirSickSik]

btw, can anyone check whether the bass stays "full/fat" if you set it to the right range (bass knob around -25).
On my speakers only B to Dis sound "fat", but E to Ais just sound very weak, wherever I put the bass-knob..
Could very well be my speakers or soundcard though, but I can't really check what the right bass-setting is right now.
Though I can more or less fix the weaker sound by adding a second bass-oscillator playing a fifth above.

I also made a "basic" version without the fm (as this is actually counter productive if you want your bass to stay fat..), but with the option to add a "sheparding" (is that a word??) fifth in the same frequency range.
Also in itself in two versions:
-high precision interpolated like the normal sine oscillator, using SINE2TINTERP() (5% cpu)
-non-interpolated using sinet[], asking only 2% cpu.

forever bass basic.axp (7.9 KB)

[SirSickSik]

ok.. more and more versions.. this time only the sinet[] non-interpolated ones, but several different ones to stack several timbres into a huge bass voice
wherever you play on the keyboard... it's got bottom..

forever bass oscillator set.axp (42.6 KB)

[hitachii]

Analyizing the signal using only ears and 8" monitors, both versions sounded pretty beefy in that range. I the fifth is really great and adds a nice gritty character.