'Classic Flute' - How to create a more realistic all-analog patch than Classic vintage preset synths скачать в хорошем качестве

'Classic Flute' - How to create a more realistic all-analog patch than Classic vintage preset synths

A more realistic flute patch than you'll find on classic vintage synths, showing how it's possible to attain a more convincing recreation of an acoustic sound with modular synths, and without the need for samples or digital modules. A truly realistic flute is too much of a tall order - a greater amount of modules, and a more complex controller, would no doubt get you nearer, but here is a more modest way of achieving a reasonable, and nice-sounding impersonation. Some of the early self-contained synths of the 1970's tried to make useable impersonations of 'real', acoustic or familiar instruments using easily-selectable presets with a very simple voice architecture. Some sounded better than others, but whilst they were often sonically appealing in their own right, they were seldom anywhere near realistic. Among the more famous were the ARP Pro Soloist, Roland SH1000/SH2000, and the Korg 700/700S - all of which very characterful and unique instruments, with their own strengths, and much loved to this day. This patch is a nod to those classic synths, but also exploring what is possible now with modest amount of purely analogue Eurorack modules. Patch sheet with notes below. The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability. Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself. Video by @DreamsOfWires More videos: 'Pan Flute' Patch:    • 'Pan Flute' - How to make this movie-inspi...   Choir Sound 2:    • Patch of The Week: Choir Pad 2 - with Wave...   Tribute to Klaus Schulze:    • 'Für Klaus' - Tribute to Klaus Schulze, a ...   Patch Sheet: https://kvisit.com/8AE/kYAH NOTES _______ Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch from one output to different destinations, so here a multiple should be used. This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning. KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference. In the video I also used the Glide module as 'slew' to soften the harsh changes in aftertouch CV from this particular controller, which may not be needed on others. TAP TEMPO LFO: Because the base tempo is selectable by tap, the rate of the LFO will have to be set by ear. VCO: If you don't wish to use the envelope to affect PWM, then PWM SHAPE will need to be set just below -1 - the envelope makes a subtle difference here, changing the shape of the VCO's sound slightly. NEXT PHASE: This is optional, as the noise is heard subtly in this patch, and only becomes more apparent when the AUDIO MIX of the Gemini is in favour of VCF1 (noise) rather than VCF2 (VCO), but to my ears it makes the sound of the noise more similar (see video description). GEMINI 2412: I'm using the 'high resonance' setting on VCF1. which is set by the rear jumper, or optionally using the Gain Switch (see User Guide video or manual on the website. Without it the resonance will need to be set to maximum, but still might not be quite enough. Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Contour Generators, V-Scale, Tap Tempo VC-LFO, Next Phase, Gemini 2412, Discrete Cascaded VCA. #eurorack #synth #modular