rutgervlek at gmail.com
Sat Aug 18 11:11:46 CEST 2018
I share your opinion, when it comes to solo sounds from analog oscillators.
I've often noticed how these sounds are EQ'd and otherwise processed (e.g.
Lots of reverb) at mixing stage such that the resulting master actually
follows a rather pink (3 dB/oct) frequency spectrum.
There's a really accurate static pink filter implementation on the Esp
(Elliot) website, but I prefer more control so I designed a spectral
tilting module for Eurorack. It allows you to tilt the spectrum (even CV
controlled!) of a sound up to a positive and negative 3dB/oct slope. I've
achieved great results with it on my VCO's, being able to make them
gradually more pink. Combining a pink-ish VCO voicing with overdrive also
sounds wonderful, and avoids harshness. Putting tilting under CV control is
also cool, as it gives a very gentle and natural modulation of timbre (e.g.
modulation with lfo or brightening with higher velocity). I've even
achieved a very passable analog leslie simulator with it in a stereo
configuration, partially because my implementation of tilting also involves
small phase shifts that are modulated along with timbre.
Op 17 aug. 2018 16:13 schreef "Mattias Rickardsson" <mr at analogue.org>:
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
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
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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