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Deep-Sound Divers´ Think-Tank

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Tutorials

Deep-Sound Divers´ Corner

The World Is Sound

Experiments, Experiences and Philosophy

The Adventures of Grandpa Soundstone

Modular Synthesis:

Softube´s Modular

SoloStuff´s SoloRack

Granular Techniques:

accSone´s CrusherX

Frequency Modulation And Phase Modulation

u-he´s Bazille

Hardware:

Retro, Remakes And Clones

Workshop FM/PM:

Miscellaneous:

accSone´s CrusherX:

Every part of this workshop consists of three modules: a theoretical one explaining how frequency modulation works, a practical one introducing an FM/PM VST (the DX7 clone "DEXED" in parts 1-3) or hardware synth and an even more practical one patching certain sounds with the instrument following a previous developped plan.

The theoretical part of this second workshop sets forth looking for a system of FM/PM sounds enabling us to predict what we get when we tweak our synths. Part 2 dives deeper into the handling of “DEXED” and part 3 constructs Whitney Houston´s piano sounds.

We continue developping our system of FM/PM sounds and finish our journey through “DEXED” in this workshop 3. Then we analyse a complex violin patch, which was made by Brian Eno in 1987.

If granular techniques in sound design are like using microscopes in biology, then CrusherX is the electron microscope of sound. Let´s learn how to use it.

This second part of my series about the granular engine “CrusherX” deals with the file management of the VST – and some extra´s you might not have discovered so far.

Well, it´s a bit tricky, this buffer thing. I´ve devoted two parts of the series to it then. Understanding the buffer´s function is fundamental for studio use as well as in life situations..

The grain view is the window into what is going on in CrusherX, it´s the eyepiece of our microscope of sound.

Now, that we know how to look deep into CrusherX, we can start tweaking the basic parameters – like delay. And I tell you: there´s a lot more about these parameters than you might have expected ...

How many ms shall a grain last and how often shall a grain be generated? Introducing the parameters "Length" and "Birth" answers these questions. These and more.

And again there is more about the parameters Length and Birth than should be dealt with in only 1 tutorial. Here comes tutorial 2 about the matter testing some borderline situations.

With this tutorial 10 in the series we leave the basic parameters and turn our view at more advanced matters like hanging the grain´s pitch or blurring its spectral content: Speed and Sweep.

Tutorial 11 introduces the parameter XCrush, an invention of accSone, the producer of CrusherX. The parameter Xcrush manipulates with the interaction between different grains.

And again it´s too complex a thing for only one tutorial. The second part about Xcrush comes here.

Always forgotten and rarely ever mentioned the “Fruity Love Philter” is an extremely flexible 8-bank filter network with a lot of functions you won´t expect in a filter bank. It´s worth more than only 1 tutorial.

The sounds this additive softsynth delivers are cold as ice, sharp as razor blades, diamond clear and wonderfully complex. It´s not easy to get yourself an overview about "Blarg". Let me help you.

The first of three tutorials, which are meant to be your companion on your first steps into additive synthesis with this little freeware “Harmonaut”.

Part 2 of the series shows some easy applications of what we have learnt in part 1 and does a few more steps deeper into additive synthesis.

The parameter Overdrive and working with Spline curves is explained in this tutorial 13. Spline curves enable us to modulate any parameter without limiting the complexity of this modulation.

And Modulation is the keyword in tutorial 14. CrusherX is equipped with a lot of different kinds of modulation, spread across two layers of modulating one and the same parameter.

As we can quantise the modulations and parameters we should know how the different kinds of quantisation work in CrusherX. It´s a bit tricky to grasp it – but I bet you will.

In part 3 we create/recreate sounds like a bass, a glas hit with a fork all using additive synthesis.

TubeOhm build their "ALPHA RAY" as a VST to teach subtractive synthesis, but out came a full-fledged synth with wonderfully warm sounds.

Ommarunn is a synth of its own category. It´s a maze of knobs and the king of modulations. And what´s more it makes you discover the creative meaning of randomness.

Well, it´s really a bit tricky, this buffer thing. And it deserves two videos. Let me repeat: understanding the buffer´s function is fundamental for studio use as well as in life situations..

One of the new functions of the latest version is the completely overhauled SWEEP. Tutorial 17 explains it in detail showing applications, you won´t have expected (including a fully grown granular sequencer).

Tutorial 16 shows what´s different in the latest version of CrusherX. There are a lot of new functions to discover. Tutorial 16 shows them all.

Tutorials Page 2

... and therefore also the delay parameter gets a second video.

The video delivers a 10 minutes overview about the new functions of version 7 including a robot choir singing a tune.

This tutorial deals with the question: how to extract new exciting future sounds for our sample players from all kinds of sound sources (including field recordings) using granular processes..

In column 1 of workshop 4 I introduce ImageLine´s FM/PM/RM synth “Sytrus”, compare it and its sounds to DEXED and talk about transfering data between DEXED, Sytrus, the DX7 and the Korg Volca FM.
In column 2 I talk about second order frequency/phase modulations, about modulating with waves others than sine waves.
And in column 3 I analyse an orchestral FM preset in Sytrus.

The History of Working with Sound

Glitchmachines:

Talking about aspects of Palindrome, which are either not mentioned elsewhere or need some further explanations ... and a useful approach for the planful sound designer at the end.

Making a complex ghostly horror sound starting with a simple bowl from the kitchen.
Classes/types of sounds and samples and how to make use of them.