source audio c4

[Quatschmacher]

I want to ask the people here that feel they have a good handle on creating new sounds from a blank slate, how they go about building them. I am pretty sure you start with the voice block, but there are a lot of options there so what is it you consider the foundational building blocks to creating a sound.

Depends on what you're trying achieve. If you want standard envelope filters then you'd use the mono input(s). For synths you'd likely use saw, square and sine.

 

[Glenn_G]

Depends on what you're trying achieve. If you want standard envelope filters then you'd use the mono input(s). For synths you'd likely use saw, square and sine.

That much I know. It seems a lot of times i change fliters or envelopes or change the something in the LFO and there is no audible difference. The only time I hear a difference is when I change the source in the voice.

 

[Quatschmacher]

That much I know. It seems a lot of times i change filters or envelopes or change the something in the LFO and there is no audible difference. The only time I hear a difference is when I change the source in the voice.

Everything is very interdependent so there will be changes, though some may be subtle. If the filter is relatively closed then changing a setting which adds high frequency content to the signal going into the filter may not be heard. You also need to make sure the envelope you're adjusting is actually controlling something at that point.

I've just created a patch template which should make things easier to learn. It can be found here:
Neuro Community by Source Audio

In this I have created a relatively simple setup from which you can explore various things. I've set it up to use only a single processor and a single 4-pole lowpass filter. Distortion is disabled.

For the square and saw waves, I have used a simple "snappy" envelope shape on envelope 1 which gets the closest to a simple on/off "keyboard gate"-style envelope.

For the purposes of this, do not touch the envelope 1 settings at all.

Voice 1 is just dry input routed to the filter, controlled by envelope 2.
Voice 2 is a saw wave routed to the filter, controlled by envelope 2.
Voice 3 is a square wave routed to the filter, controlled by envelope 2.
Voice 4 is a sine wave routed directly out (not to the filter). Instead the FM amount from sine wave 2 (not visible) is controlled by envelope 2. The reason for this is that the modulation contour will behave the same as the other voices, even though it is controlling a different parameter. It will still give the illusion of a filter opening and closing as the altering FM amount first adds, then subtracts higher frequencies.

When you first load the patch, only voice 1 is active.

First play around with the envelope 2 speed and sensitivity and switch between voices 1-4 individually to hear how it affects them.

Then for voices 1-3, start playing with the filter 1 depth, frequency and Q settings, as well as the filter pitch track options to hear their effects.

For voice 4, play around with the FM knob.

That should be enough to get you started. I might add more at a later date to cover the LFO and how changing the oscillator pitch relationships affects the sound of voice 4 when using FM.

Hope that is helpful.

 

[Glenn_G]

Everything is very interdependent so there will be changes, though some may be subtle. If the filter is relatively closed then changing a setting which adds high frequency content to the signal going into the filter may not be heard. You also need to make sure the envelope you're adjusting is actually controlling something at that point.

I've just created a patch template which should make things easier to learn. It can be found here:
Neuro Community by Source Audio

In this I have created a relatively simple setup from which you can explore various things. I've set it up to use only a single processor and a single 4-pole lowpass filter. Distortion is disabled.

For the square and saw waves, I have used a simple "snappy" envelope shape on envelope 1 which gets the closest to a simple on/off "keyboard gate"-style envelope.

For the purposes of this, do not touch the envelope 1 settings at all.

Voice 1 is just dry input routed to the filter, controlled by envelope 2.
Voice 2 is a saw wave routed to the filter, controlled by envelope 2.
Voice 3 is a square wave routed to the filter, controlled by envelope 2.
Voice 4 is a sine wave routed directly out (not to the filter). Instead the FM amount from sine wave 2 (not visible) is controlled by envelope 2. The reason for this is that the modulation contour will behave the same as the other voices, even though it is controlling a different parameter. It will still give the illusion of a filter opening and closing as the altering FM amount first adds, then subtracts higher frequencies.

When you first load the patch, only voice 1 is active.

First play around with the envelope 2 speed and sensitivity and switch between voices 1-4 individually to hear how it affects them.

Then for voices 1-3, start playing with the filter 1 depth, frequency and Q settings, as well as the filter pitch track options to hear their effects.

For voice 4, play around with the FM knob.

That should be enough to get you started. I might add more at a later date to cover the LFO and how changing the oscillator pitch relationships affects the sound of voice 4 when using FM.

Hope that is helpful.

Thanks. Will check this out

 

[sunbeast]

Thanks. Will check this out

As @Quatschmacher said, you have to route the signal yourself into the envelopes or LFOs before they will actually do anything!

 

[Quatschmacher]

As @Quatschmacher said, you have to route the signal yourself into the envelopes or LFOs before they will actually do anything!

In the template I’ve shared, I’ve set up the routings so that it is possible to see what the parameters are supposed to do when correctly routed.

It’s definitely worth studying the manual. And for those to whom synthesis is new, this is a great resource:
Learning Synths

 

[equill]

That much I know. It seems a lot of times i change fliters or envelopes or change the something in the LFO and there is no audible difference. The only time I hear a difference is when I change the source in the voice.

I had a lot of frustration here, too. Turned out that I was fussing with the LFO, while the Mod Source dial was all the way over at ENV.
Similarly, if it's all the way over at LFO, messing with the Envelope settings won't have any effect.

 

[Glenn_G]

I had a lot of frustration here, too. Turned out that I was fussing with the LFO, while the Mod Source dial was all the way over at ENV.
Similarly, if it's all the way over at LFO, messing with the Envelope settings won't have any effect.

Yeah, I realise now that these are routing issues. I started to dig into the manual it seems that they have hard coded each of the two sequncers to specific voices. 1 and 3 to #2 and 2 and 4 to 1. There was one other thwt was also hard coded in the same sense but can't recall it now.
I might have to make a map how everything gets routed as you turn things on and off

 

[equill]

Yeah, I realise now that these are routing issues. I started to dig into the manual it seems that they have hard coded each of the two sequncers to specific voices. 1 and 3 to #2 and 2 and 4 to 1. There was one other thwt was also hard coded in the same sense but can't recall it now.
I might have to make a map how everything gets routed as you turn things on and off

could be worth doing.
The other gotcha I ran into is that the Output Balance doesn't control the stereo panning as such, but manages the relative levels of the two processors. So if you turn it completely one way, it silences the other processor, regardless of its L/R (1/2) balance settings.

 

[Glenn_G]

could be worth doing.
The other gotcha I ran into is that the Output Balance doesn't control the stereo panning as such, but manages the relative levels of the two processors. So if you turn it completely one way, it silences the other processor, regardless of its L/R (1/2) balance settings.

If I'm undersranding you correctly, the output balance will not only dampen the output you are panning away from but it will also dampen the one of the two processors? Was the proccesor that got dampened routed to the output you dampened?

 

[equill]

If I'm undersranding you correctly, the output balance will not only dampen the output you are panning away from but it will also dampen the one of the two processors? Was the proccesor that got dampened routed to the output you dampened?

Sorry, that phrasing was a little confusing.

Each processor has its own balance-control for sending its output to output 1 or 2.
The output balance doesn't affect that. It seems to just affect the relative levels of the two processors, so hard-left means that only processor 1 is heard, with whatever 1-vs-2 balance was set at the processor. Hard-right means you only hear the output of processor 2, and at the center you hear both at full power.

 

[Mohawk]

Managed to squeeze the C4 and Micro onto the board. Got the presets organized and ready for show time. View attachment 3832474

A couple lessons learned after gigging this setup. The dual channels/amps sounds great with effects vs single channel. Gets rid of any tone suck. But I ended up needing to rotate the DMC.Micro 45 degrees to get it's stomp button further away from the Boss looper pedal. I hit both occasionally turning on the C4 Synth and changing it's preset in addition to the intended loop change.

I have now ordered EBS flat patch cables to make more room on the board. Also found out that I can reprogram the DMC.Micro to change presets without automatically turning on the C4. I will be doing that too.

 

[xI Jonathan Ix]

Quick question about the C4; If I only get the pedal (no midi/usb controller), with my phone & the neuro app, can I swap the first 6 presets to different patches or are the first 6 burned in?

I’ve got to buy pieces slowly & seperately or I gets in trouble.

 

[shaggy45]

Quick question about the C4; If I only get the pedal (no midi/usb controller), with my phone & the neuro app, can I swap the first 6 presets to different patches or are the first 6 burned in?

I’ve got to buy pieces slowly & seperately or I gets in trouble.

You can swap them

 

[Glenn_G]

Quick question about the C4; If I only get the pedal (no midi/usb controller), with my phone & the neuro app, can I swap the first 6 presets to different patches or are the first 6 burned in?

I’ve got to buy pieces slowly & seperately or I gets in trouble.

Yes, just drag the preset you want to burn to the left and a menu will appear that has a burn option. Just replace the factory set preset with the one you want.

 

[shoegazebass]

Just picked up one of these and am excited. one question for the C4 vets - anyone come up with a patch that can emulate some of the harmonica sounds like the DX7 could do?

 

[Glenn_G]

Just picked up one of these and am excited. one question for the C4 vets - anyone come up with a patch that can emulate some of the harmonica sounds like the DX7 could do?

Have not seen a Harmonica but there is a really good flute on page 49 of the community uploads. I was having a bit of difficulty working with the editor but I'm starting to think, why bother

 

[rsmith601]

Have not seen a Harmonica but there is a really good flute on page 49 of the community uploads. I was having a bit of difficulty working with the editor but I'm starting to think, why bother

Exactly!!!

 

[Quatschmacher]

Just picked up one of these and am excited. one question for the C4 vets - anyone come up with a patch that can emulate some of the harmonica sounds like the DX7 could do?

Can you post a clip/video link of the sound(s) in question, please? I’ll see if I can do it.

Have not seen a Harmonica but there is a really good flute on page 49 of the community uploads. I was having a bit of difficulty working with the editor but I'm starting to think, why bother

Exactly!!!

I posted a simple flute patch a while ago when someone was asking.

A while ago I was talking about how it would be cool to get paid to sit around in my underwear writing patches all day. In a roundabout way, that’s what is happening as I’m currently furloughed from my job and they’re still paying me. However, I don’t know for how much longer as I got a recent email asking if want to apply for voluntary severance and have until the end of the month to decide. If I knew I could find enough regular work doing all this music geekery I love so much it seems like it’d be a good time to take the money and run so to speak. I was at least already thinking about dropping a day week to start transitioning to do this kind of thing.

 

[shoegazebass]

This is a DX7 emulator with the patch I mentioned -

After listening to a few examples of it (I guess most notably used in Tina Turner's What's Love Got To Do With It) it may not be exactly what I'm looking for but I'd love to try it if the C4 can approximate it.