by John Bowen » Fri Jun 06, 2008 10:41 pm
I thought I'd collect all audio examples of the Solaris keyboard in this one area.
First the initial 4 demo sounds, with descriptions:
What I'd like to start with are much simpler sounds, and I've done 3 quick examples to show some very specific things. No effects were used, it's just a direct feed from the stereo analogue outputs.
1) AM example -
http://www.johnbowen.com/WavDemos/Solaris_AM1.wav
This is an extremely simple patch, made up of 2 oscillators, no filters, 2 envelopes, and 2 LFOs. Osc 1's amplitude is being modulated by Osc 2, whose output is shaped by an envelope. (The 2nd env is the Amp EG, of course). Since you can modulate each input of a mixer, I have a mixer with Osc 1 coming into 2 of the 4 inputs. The first input is getting modulated by Osc 2, and the second input is modulated by an LFO. Another LFO controls panning.
2) Lowpass filter with polymod -
Http://www.johnbowen.com/WavDemos/Solaris_LP11.wav
This just because it's an old favorite of mine from my Prophet 5 days. 2 oscillators feeding the ladder-type Lowpass 24 dB filter, with medium resonance. The filter cutoff is modulated by 2 LFOs, one of which is tracking the keyboard, while the other a very slow sweep. A third input provides an envelope to the cutoff. Again a bit of Pan modulation by another LFO.
3) Panning Modulation at audio rates -
http://www.johnbowen.com/WavDemos/Solaris_PanMod.wav
Again, another very simple sound, using 2 oscs (sine waves), one with a slight bit of pitch EG (and no filter). The point here is to show how nicely audio rate modulation of the Pan position works - something you won't find on your typical synthesizer. As I hold down the F major chord a few bars in, I start to adjust the Coarse tuning of Osc 4, which is modulating the Pan. At first it's at -60 semitones (sub-audio range), and then I gradually (more or less!) raise it all the way up to +60 semitones. At the end, I again grab Osc 4's Coarse frequency and quickly drop it all the way back down while holding a higher chord.
5) Someone requested to hear something bright and buzzy, or lots of resonance. Here's something using 2 filters in parallel - the MiniLP and the OB Notch filters:
http://www.johnbowen.com/WavDemos/MiniLP+OBNotch2.wav
I thought I'd collect all audio examples of the Solaris keyboard in this one area.
First the initial 4 demo sounds, with descriptions:
What I'd like to start with are much simpler sounds, and I've done 3 quick examples to show some very specific things. No effects were used, it's just a direct feed from the stereo analogue outputs.
1) AM example - http://www.johnbowen.com/WavDemos/Solaris_AM1.wav
This is an extremely simple patch, made up of 2 oscillators, no filters, 2 envelopes, and 2 LFOs. Osc 1's amplitude is being modulated by Osc 2, whose output is shaped by an envelope. (The 2nd env is the Amp EG, of course). Since you can modulate each input of a mixer, I have a mixer with Osc 1 coming into 2 of the 4 inputs. The first input is getting modulated by Osc 2, and the second input is modulated by an LFO. Another LFO controls panning.
2) Lowpass filter with polymod - Http://www.johnbowen.com/WavDemos/Solaris_LP11.wav
This just because it's an old favorite of mine from my Prophet 5 days. 2 oscillators feeding the ladder-type Lowpass 24 dB filter, with medium resonance. The filter cutoff is modulated by 2 LFOs, one of which is tracking the keyboard, while the other a very slow sweep. A third input provides an envelope to the cutoff. Again a bit of Pan modulation by another LFO.
3) Panning Modulation at audio rates - http://www.johnbowen.com/WavDemos/Solaris_PanMod.wav
Again, another very simple sound, using 2 oscs (sine waves), one with a slight bit of pitch EG (and no filter). The point here is to show how nicely audio rate modulation of the Pan position works - something you won't find on your typical synthesizer. As I hold down the F major chord a few bars in, I start to adjust the Coarse tuning of Osc 4, which is modulating the Pan. At first it's at -60 semitones (sub-audio range), and then I gradually (more or less!) raise it all the way up to +60 semitones. At the end, I again grab Osc 4's Coarse frequency and quickly drop it all the way back down while holding a higher chord.
5) Someone requested to hear something bright and buzzy, or lots of resonance. Here's something using 2 filters in parallel - the MiniLP and the OB Notch filters: http://www.johnbowen.com/WavDemos/MiniLP+OBNotch2.wav