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source audio c4

#1,863
My session creating FM sounds last night was inspired by my having talked a friend through the features of the pedal for a couple of hours earlier in the week and encountering something which puzzled me.

This isn’t documented in the manual under the FM section but I’ve finally figured out what happens with the envelopes in the FM implementation. I had previously thought that whatever envelope was selected to control the modulator oscillator’s volume was what controlled the FM amount in the carrier oscillator. This is not the case. It actually looks like the two envelopes are hard-routed so that Sine 1’s FM amount (from either Sine 2 or the input signal) is always controlled by envelope 1. Similarly Sine 2’s FM amount (from either Sine 1 or the input signal) is always controlled by envelope 2. I’ve emailed Jesse and Niko to confirm and ask them to add the info to the manual.

Having grasped that, I’ve found some more cool stuff one can do by manipulating both envelope shapes and FM amounts and I’ve got some ideas of things to do using the dual processors with FM now which I’m going to work on today.

I also worked out the other day that the pitch modulation of the oscillators (via the detune knob and accompanying “modulate” button) is also hard-routed. (I previously thought it was set by the the same drop down that selects which LFO controls the tremolo for a given voice as it’s right next to that control in the editor.) I was wrong! The pitch modulation of oscillator 1 (i.e. saw 1, square 1, sine 1) and polyphonic pitch 1 is always controlled by LFO 1.

Likewise, the pitch modulation of oscillator 2 (i.e. saw 2, square 2, sine 2) and polyphonic pitch 2 is always controlled by LFO 2.

The above means that if you want to apply equal-speed pitch modulation to two oscillators which have the same wave shape, then you need to ensure that the LFO1/2 ratio is set at 1:1. However, this new discovery opens up some interesting possibilities. I might also be able to use this knowledge to improve some things I was dissatisfied with in a few of my older patches.

I made Jesse and Niko aware of this too and it will be added to the manual.
 
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#1,865
Charlie Tuna said:
@Quatschmacher We need to get two video cameras and some lights sent your way for a C4 Masterclass.
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I see you’ve changed your name here now!

Yes, it would be pretty cool. It actually worked pretty well on google meet with both of us sharing screens. The only thing I can’t work out is how to get the audio from my bass via the interface to be heard by the caller. I can can present audio from a web browser tab but not from the input of my interface.

I was actually thinking about seeing if anyone had any interest in either one-to-one tutorials or a small group tutorial via video call. It worked pretty well with Ian the other day. Was thinking I could do a similar thing for the FI too.
 
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#1,866
Quatschmacher said:
I see you’ve changed your name here now!

Yes, it would be pretty cool. It actually worked pretty well on google meet with both of us sharing screens. The only thing I can’t work out is how to get the audio from my bass via the interface to be heard by the caller. I can can present audio from a web browser tab but not from the input of my interface.

I was actually thinking about seeing if anyone had any interest in either one-to-one tutorials or a small group tutorial via video call. It worked pretty well with Ian the other day. Was thinking I could do a similar thing for the FI too.
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Yes, new name same game...

I was also thinking about how I could use the interface sound for video since I don’t have a speaker at home, and sound quality is usually very suspect when doing video calls with room sound playing. I’ll be checking into this tonight and let you know if I have any success.
 
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#1,867
Check this out, I've managed a pretty cool FM-based upright bass sound. You can track the patch's development by studying the series of patches I just posted to Neuro. (If you want the finished sounds, try 6, 6a, 7 and 7a). I might also post a version with better knob assignments as depending on your dry bass volume and passive tone controls, you may need to adjust the dry input into voice 4.
[This invalid link has been removed]
 
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#1,868
Quatschmacher said:
Check this out, I've managed a pretty cool FM-based upright bass sound. You can track the patch's development by studying the series of patches I just posted to Neuro. (If you want the finished sounds, try 6, 6a, 7 and 7a). I might also post a version with better knob assignments as depending on your dry bass volume and passive tone controls, you may need to adjust the dry input into voice 4.
[This invalid link has been removed]
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Well done, sir!
 
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#1,869
Quatschmacher said:
Check this out, I've managed a pretty cool FM-based upright bass sound. You can track the patch's development by studying the series of patches I just posted to Neuro. (If you want the finished sounds, try 6, 6a, 7 and 7a). I might also post a version with better knob assignments as depending on your dry bass volume and passive tone controls, you may need to adjust the dry input into voice 4.
[This invalid link has been removed]
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That sounds sick. Can’t wait to try later
 
#1,870
jkazam said:
That sounds sick. Can’t wait to try later
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I'm still tweaking too; just added expression control that changes how aggressive the percussive rasp is.


Apologies for the glitchy sound - I forgot to turn up my processor speed while recording.
 
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#1,872
sunbeast said:
Paraphrased from the manual:
Under the “Hardware Options” in the Neuro app/desktop go under Preset options and select “Preset Mode”. In this mode you can adjust the knob settings on the pedal of a selected preset (including Master Volume) then re-save the preset with the adjusted values by holding the footswitch for 5 seconds (until the center light stops blinking)
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Doesn’t seem to be working for me. I want to be able to go through the patches in my library and save the master setting adjustments to my taste so that when I’m re-assigning patches i do not have to go through and save each one again when burning.
 
#1,873
Quatschmacher said:
I'm still tweaking too; just added expression control that changes how aggressive the percussive rasp is.


Apologies for the glitchy sound - I forgot to turn up my processor speed while recording.
Click to expand...

Wow....I think that's the closest double bass approximation in a pedal I think I've ever heard. My hat off to you sir! Impressive Stuff. I'm now upto #115 patches on my C4! 7b worked best for me.
 
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#1,874
GMC said:
Wow....I think that's the closest double bass approximation in a pedal I think I've ever heard. My hat off to you sir! Impressive Stuff. I'm now upto #115 patches on my C4! 7b worked best for me.
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Thanks, I've been at it all day. Have tweaked a bit further but need to have a break and come back with fresh ears tomorrow.

For reference, I'm using a Lakland Skyline 44-60, GHS precision flats 45-105, tone backed off about 1/3, front pickup on full, rear dialled back 45 degrees from max.

 
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#1,877
I'll admit I've been pretty strictly DIY, almost entirely with patches too esoteric OR too basic to have any value uploading, but it's been fun setting up stuff like a gated fuzz with the ability to mix in a sub-octave synth voice. The ODs are pretty damn good.

Still, it sounds like I need to plug into the upload cloud for some fresh inspiration. Y'all've been busy here!
 
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#1,879
ReeV0 said:
Anyone know why the monophonic octaves are fast and snappy, but anything polyphonic is really laggy and doesn't work properly?
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It’s not that they don’t work properly; polyphonic detection takes more processing resources compared to a single note, just like it does as a human brain.

@rsmith601 published a video a while back on this thread going through the technicalities.
 

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