[AH] Triple Resonator Applications/Soundbites

From Mike Peake
Sent Wed, Mar 17th 2004, 09:28

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Distillation of a TGS thread.


In a medium-sized modular system, figuring a price of between 
$2000.00 to $4000.00 depending upon manufacturer, it's important to 
streamline your selection of modules to provide the maximum possible 
level of functionality plus your favorite definition of sonic 
character.  Figuring a system of three oscillators, two regular 
filters (LPF or multimode), a few envelopes, a pair of VCAs, etc., a 
full-featured TRES adds a tremendous amount of sonic potential.

I can generate 10 simultaneous, individually CV'd sine waves in the 
audio or sub-audio range out of the medium-format, yet portable, 
16-module system Selector System "C". This allows for moderately 
complex additive synthesis experiments, much less complex audio-rate 
and sub-audio modulations.

The TRES can act as a triple sine additive percussion synthesis 
engine for complex kick drums at the bare minimum.. Tuning and 
modulating each of the three sines individually if required. I love 
electronic percussion, which is one thing the Selector excels at, 
with the fastest envelopes available. Setting the individual 
resonance controls below self-oscillation (a magic place in analog 
audio) allows for ringing filter synthesis, with transients at the 
audio input exciting the filters into momentary oscillation.

The TRES VCA is gravy, and will allow for envelope control and even 
AM of the output signal.

This leaves three oscillators, two filters, two VCAs, four envelopes, 
two ring modulators, two waveshapers, two LFOs, and an S/H free for 
simultaneous voices.

The Selector TRES has some 30dB of auto gain compensation, IIRC. As 
resonance is changed, the signal levels are kept fairly constant, 
eliminating the need for external gain compensation modules.


Application: Audio Processing

In terms of precise audio processing, the Selector TRES allows each 
individual band to be set to that magic resonance point just under 
self-oscillation. Also, each of the three filters provide CV tracking 
per band with clean, instant response (allowing for non-linear access 
to different Fcs if controlled by a keyboard or a randomly played 
ribbon controller, for example) as well as individual level control 
per band, etc. Slew may be added via external modules if so desired..

In the following example, the sawtooth waves went through a pair of 
=46ilter 2s in order to bandwidth-limit the signal (trimmed the lows 
and highs) before running into the TRES. The first two TRES bands 
tracked the keyboard; the third band tracked it only a little and 
provided a bit of the "air" effect.

There's a few dB of HF EQ added for clarity (never using headphones 
for sound design again). Twelve tracks of TRES/two Filter 2s, etc.


You might have to replace the % and %20 with spaces for it to work.

Link: http://www.pacificnet.net/~peake/assets/TS%20Tres%20Mozart%20Vox.mp3


Application: tone source


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=46our sounds, each of which consist of the Technosaurus Triple 
Resonator with each resonator near self-oscillation. An envelope with 
minimum times to the audio input causes them to ring, and the sample 
and hold changes all of their pitches evenly (each has individual 
frequency, resonance, level, and VC control). It's patched from there 
into a VCA with another envelope controlling it.

These sounds could be produced using a shaped gate, one TRES, one 
envelope, and one VCA with keyboard control of gate and Fc. As the 
TRES has a VCA, you could reduce that to only using one envelope and 
the TRES (I'm going to look into that).

As the TRES will both emphasize and in this case, produce very deep 
bass, it can be used for kick drums and complex electronic percussion.

Using a tad of VCA overdrive, this patch will also produce 
interesting wooden box drum sounds. With less resonance, it produces 
sharper kicks and percussion.

The Filter 2 will also produce ringing filer effects, with an even 
fuller sine wave, which will also produce subsonic sinusoids for 
modulation purposes.



Other Triple Resonators, some with more features

Beermaster says : The A-Sys Vocal/Phase is easy to tune and tracks 
volt/8ve - with multi mode outputs. The A-sys sustains with out input 
- proper self osc and it holds -

Polyfusion Formant filter: won't self-osc and no CV for anything

Doepfer Trautonium Filter: 4 bands of filter each with switchable 
lo/band toggles - only resonates with signal flowing but gets a 
crunchy slightly overloaded sound at hi Q - tho no CV !

=2E..and what about the Doepfer A-127?

Cuari says: -

Three independent BP filters in series, which also have individual 
outputs, each with a level pot, Q, Freq, CV and an LFO (with a 
triangle wave), plus a jack for CV input that overrides the LFO. 
Superb vocals, reed instruments, sultry saxophones, and even a cool 
"acoustic" guitar patch.

A tad noisy, though (with high Q).

Smoo wrote: my Doepfer doesn't self-oscillate. Re: the Selector TRES: 
He did it right and these filters are soo beefy. ...in terms of 
sound, the VCO's and filters really play in the highest class. 
=2E..(all IMHO).

Try a feedback loop on yours (invert the signal if nothing happens) 
if it doesn't have enough resonance to track harmonics or to do 
ringing filters or to self-oscillate. The Selector squares nicely 
with a simple patch cord from one of the two Outs into one of the 
four Ins. I look forward to using these variable-overdrive tones :-)

Thankfully, the Selector TRES does everything I require excepting 
sustained self-oscillation. Patching feedback will probably cure that.

I haven't run into a situation in which filter tracking didn't 
measure up to any of my needs, as evinced by the workout I'd given it 
in "S=E9ance".


To enjoy this installation. Hope this gives you some empetus to 
explore these areas of synthesis.

Mike Peake, Your Postwar Administrator



Bad vibrations equal bad sound