[sdiy] Other resonator designs

[cheater cheater]

I think it's worthwhile to mention that you can get really good vocal
effects if you have voltage control the cutoff and Q of the higher
bands, so that you can control them with aftertouch - for example
increase the freq a bit and lower the Q, much like a choir
articulating its voice by changing how their vocal tract is
positioned.

Cheers
Damian

On Thu, Aug 13, 2009 at 3:46 PM, Dan Snazelle<subjectivity at hotmail.com> wrote:
>
> while we are on the topic
>
> has anyone built any of the Electronotes Filterbanks?
>
> there are 2 i am thinking of...one which is Ian's design
>
> one is called the responding filter bank
>
>
> they both look like a lot of work but both look rewarding.
>
>
> thanks
>
> --------------------------------------------
> check out various dan music at:
>
>  http://www.myspace.com/lossnyc
>
> (updated monthly)
>
> http://www.soundclick.com/lossnyc.htm
>
>
>
> http://www.indie911.com/dan-snazelle
>
> (or for techno) http://www.myspace.com/snazelle
>
> ALSO check out Dan synth/Fx projects:
>
> AUDIO ARK:
>
> www.youtube.com/watch?v=TJRpvaOcUic
>
> www.youtube.com/watch?v=BqIa_lXQNTA&feature=channel_page
>
> www.youtube.com/watch?v=V4nJPjGgOcU&feature=channel_page
>
> and soundtrack/design work:
>
> NEW: check out Dan's sound design from the 1998 award winning film SAFARI by catherine chalmers
>
> http://www.catherinechalmers.com/videos.cfm
>
>
>
>
>> From: tom at electricdruid.net
>> Subject: Re: [sdiy] Other resonator designs
>> Date: Thu, 13 Aug 2009 14:57:34 +0100
>> To: gsn10 at hotmail.com
>> CC: synth-diy at dropmix.xs4all.nl
>>
>>
>> On 13 Aug 2009, at 14:09, Scott Nordlund wrote:
>>
>>>
>>> Most instruments (including electric guitars, unless you're using
>>> piezo bridge pickup) already have their own characteristic
>>> formants, so you can only add to what coloration is already there.
>>>
>>> Of course synths will have a specific spectrum as well, according
>>> to your choice of waveform, though this isn't a formant because it
>>> changes with pitch.  The "pure" way to do it (formant synthesis)
>>> uses an impulse train as input, in which case the harmonic content
>>> is determined entirely by the filtering.
>>
>>
>> This is exactly the sort of stuff that I'm getting excited about. The
>> oscillator section of a synth is equivalent to (say) the strings of a
>> guitar or 'cello. This basic sound is then heavily coloured by the
>> formants caused by body and cavity resonances. This gives the overall
>> 'tone' of the instrument.
>>
>> Having one filter that follows the pitch of the note is much more
>> equivalent to altering the type of string that you're using, rather
>> than any kind of body modelling. This is one reason subtractive
>> synths don't sound at all naturalistic. And that's before you go
>> "Beeeooowwwwmmm!" with your envelope and blow any chance of realism!
>>
>> Personally, I'm not particularly fussy about pure formant synthesis.
>> It seems reasonable to me to have a complex system generating the
>> sound that gets 'processed' by the body. After all, a piano mechanism
>> isn't exactly straightforward, even before we get into the details of
>> formant filtering caused by the soundboard and whatever other
>> resonances there are. Secondly, (and again very personally) I'm
>> mostly interested in abstract sound synthesis, so I'm not attempting
>> to design a synth that sounds exactly like a 'cello. However, I would
>> like to design a synth that has the *depth* and *richness* of a
>> cello's tone, and I suspect that body modelling is quite a big part
>> of that. Adding an artificial body model consisting of a number of
>> resonances (and notches too, don't forget them) seems to offer
>> another layer of depth to synthetic sound.
>>
>> A big positive to all resonators from me.
>>
>> T.
>>
>>
>>
>>
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