- #LIKE GROWLY NOTES BUT FREE GENERATOR#
- #LIKE GROWLY NOTES BUT FREE PATCH#
- #LIKE GROWLY NOTES BUT FREE FULL#
If the settings are right, you should get some melody folding, i.e. Send the the two Mangrove outputs to a crossfader and manually or by CV fade between the two voices.
#LIKE GROWLY NOTES BUT FREE PATCH#
Patch LFOs with slightly different frequencies/amplitudes to Barrel and Formants of both (that’s 4 LFOs).
#LIKE GROWLY NOTES BUT FREE FULL#
Set Barrels to full CCW and Formants to 9 o’clock. If you’re lucky enough to own two Mangroves, send a melodic sequence to the first, and sync the second to the first’s SQUARE output. If your filter has an input level control (essentially a VCA), try modulating it at audio rates at the same time if not, send your click through a VCA before it gets to the filter input, and send an audio signal into the control input of the VCA.ġ8. Ping a filter (turn up its resonance a lot and send a strong, very brief control voltage click into it). 0-Coast (or anything with shape modification) square sub-oscillator modulates Shape Shape End-of-Cycle signal modulates Balance.ġ7. Send your envelopes and LFOs through resonant filters or wave-folders too!ġ6. Sweeping a resonant filter through polyphonic materialġ5. (Note: exponential FM is very sensitive to the amplitude of the modulating signal: there are a finite number of sweet spots, if you desire a relatively consonant outcome. This will give the timbral variation of changing the pitch of the modulator, but those pitch changes will be the crossfaded sum of discrete tones. Instead of sending simple raw waveforms into an oscillator’s FM input, send a rich monophonic or even polyphonic signal through a resonant filter or phaser to use as the modulator. Frequency modulate a sequenced VCO with itself through 100% reverb.ġ3: Intellijel Springray Spring Reverb: Send a steady signal input: Set low feedback, set gain high enough to sustain feedback loop, then modulate gain amount (including through negative) and frequency.ġ4. Then same VCO dry -> the same ring modulatorġ2. “Slightly drifting chaotic modulating signal” -> VCO -> 100% wet reverb -> ring modulator Use each to slightly frequency modulate each of two oscillators in unison = a surprising chorusing effect that sounds like many oscillators with a lot of movement.ġ1. Create low frequency noise by slewing or heavily filtering two noise signals. For interesting rhythms, slightly cross-modulate two very fast LFOs and send (either the resulting mix, or each separately-the poster doesn’t say) into a clock divider. To raise the likelihood of your sample and hold reaching a gate threshold, add an offset to decrease the likelihood, subtract an offset.ĩ. The gate threshold to trigger an envelope might be 5 V, or 1 V, or something else. For example, another sample and hold, with a range from -10V to +10v, will output a signal at 5 V or higher about 25% of the time. Use a less predictable trigger source to open a connected VCA and let a note actually form. For example, run a 5 step pitch sequence into a sample and hold.
#LIKE GROWLY NOTES BUT FREE GENERATOR#
Likewise, clocking a Euclidean rhythm generator with a simple but varied gate sequence can spice things up nicely.Ĩ. Instead of a steady clock signal to clock the melody row of your sequencer (or any module that expects a clock signal), use a simple but varied gate sequence. Use 2 or more envelopes/LFOs mixed for your sample + hold melodies modulate frequency offset and amplitude offset.ħ. Put anything that shifts phase (most filters do) or frequency into an audio feedback loop to prevent sudden explosions and promote slower buildup.Ħ. The reverb tails of your melody sequence will be translated into atonal smears of portamento.ĥ.
![like growly notes but free like growly notes but free](https://www.indezine.com/powerpoint/freebackground/templates/t_ind_2634a.jpg)
through spring reverb and then into oscillator. Send V/oct pitch signal from your sequencer, keyboard etc.
![like growly notes but free like growly notes but free](https://www.precisionnutrition.com/wp-content/uploads/2017/12/Arugula-1024x631.jpg)
Use three or more very short delays to emulate formants of acoustic instruments.Ĥ. The chord formed by the 7th and 9th harmonic is my favorite.ģ. Now tune the filters to your heart’s content, exploring the dyads made possible by the harmonic series. Increase the resonance on each only one harmonic is heard. Gather two resonant bandpass filters, and send a sawtooth wave to both. See tip #49 for an extended description of this technique.Ģ. But try building feedback into the system by taking the quantizer output and routing it to the 1 volt/oct input of the first oscillator in the chain. Everyone knows you can send a fixed-frequency oscillator through a sample and hold or quantizer to form sequencer-less melodies for an audio-rate oscillator. Some descriptions have been translated into my words for (hopefully) better legibility.ġ.
![like growly notes but free like growly notes but free](https://images.sftcdn.net/images/c_thumb,h_60,f_auto/p/b2c3cde0-9b25-11e6-97e5-00163ed833e7/3022666295/growly-notes-screenshot.png)
Culled mostly from Today My Small Discovery., Sequencer-less Sequencing, and a few other nooks and crannies.