quincas at gmail.com
Fri Aug 17 16:45:17 CEST 2018
The waveforms are what they are, squares and saws simply sound bright due to the nature of the waveforms and their harmonic content. Which is why since the early days filters have been used in synthesis, or waves like triangle and sine with variable waveshaping to achieve the desired amount of higher harmonics. The model 15 for example has a nice non resonant filter bank precisely for these kinds of adjustments. I just use the 3 band eq in my Hexmix mixer to roll off some highs when needed. To do so in the VCO itself would IMO be undesirable, you may need those high harmonics to make a filter sweep really sing, or for FMing other sound aources etc.::
My take on this is: Just use eq to taste when needed.
Sent from my iPhone
> On Aug 17, 2018, at 09:09, Mattias Rickardsson <mr at analogue.org> wrote:
> Hi all,
> I often experience VCOs "too bright", having too much high end in the sawtooth & pulse waves.
> I often experience VCF resonance peaks "too bright", being too strong at higher cutoffs.
> I often experience white noise "too bright", having too much high end...
> ...while pink noise feels more balanced. Equal power per octave, not per Hz.
> Also, good sounding loudspeakers/studios tend to have a bit pink-ish spectrum roll-off from the sound source to the listener position, suggesting that some sort of pinkification of clean sounds could be desirable.
> So, why aren't VCOs and VCFs more spectrally pink?
> Have there been any attempts historically to alter their characteristics a bit in synths? :-)
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