In Zebra, I remember using another ModMapper "via" modulation on THE modmap modulation to get it more precise... I guess you can do that in Bazille as well.
Input the modmap1 into a multi and modmap2 into the multi's "mod" input.
Haven't tested it yet but it should work.
Bazille - tips & tricks
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- KVRAF
- Topic Starter
- 3817 posts since 8 Mar, 2006
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- KVRist
- 131 posts since 18 Jul, 2015
3ee wrote: Input the modmap1 into a multi and modmap2 into the multi's "mod" input.
Haven't tested it yet but it should work.
Oh now that's an idea ! Thank you, will try this and report
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rheinlandhippie rheinlandhippie https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=327868 - KVRer
- 4 posts since 28 Apr, 2014
Hi,
a huge “Thank U” to the community for all these great Tips & Tricks
While building up some kind of basic Know-how in modular synthesis via "Fred Welsh's Synthesizer Cookbook" I was a little bit hindered by the fact, that BAZILLE’s Oscillators obviously doesn’t offer PW(M) and Triangle waves directly.
Anyway, the specific Tricks are perfect (and interesting) workarounds indeed.
Best from Cologne
rheinlandhippie
a huge “Thank U” to the community for all these great Tips & Tricks
While building up some kind of basic Know-how in modular synthesis via "Fred Welsh's Synthesizer Cookbook" I was a little bit hindered by the fact, that BAZILLE’s Oscillators obviously doesn’t offer PW(M) and Triangle waves directly.
Anyway, the specific Tricks are perfect (and interesting) workarounds indeed.
Best from Cologne
rheinlandhippie
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- KVRist
- 131 posts since 18 Jul, 2015
Yeah I wonder if this was not - conscientiously or not - intended to lead people outside their usual comfort sound designing zone, and make them incline to use the other oscillator functions like the fractalization, the res I,II and III waveforms..., all of this contributing to give Bazille a specific character and identity, somewhere between "gritty" "agressive" "raw" and tons of other abstract and "you know what I mean" adjectives like thatrheinlandhippie wrote:Hi,
BAZILLE’s Oscillators obviously doesn’t offer PW(M) and Triangle waves directly.
Anyway, the specific Tricks are perfect (and interesting) workarounds indeed.
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- KVRer
- 23 posts since 27 Oct, 2006
Does anyone know how to make such sounds with Bazille? Especially the last example starting at 1:50 min..
https://www.youtube.com/watch?v=gh-kD_FLmC4
https://www.youtube.com/watch?v=gh-kD_FLmC4
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- KVRAF
- 3055 posts since 10 Nov, 2013 from Germany
Yes, was already covered in post #5 of this thread.RedChameau wrote:Hey,
Don't know if this has ever been covered, I searched with no sucess :
I'm desperately trying to tune either an audiorate LFO
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themagicalkamja themagicalkamja https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=382481
- KVRist
- 122 posts since 14 Jul, 2016
This is an awesome thread btw. Even though it's been lying dormant, I hope it can be revived because I love reading all these tips and tricks. Really gets the juices flowing!
Here are some other cool things to do in Bazille:
1) use VCOs/noise generators as CV signals while increasing the rates of CV modules (EG, LFO, etc) and using them as audio-rate signals to the VCA. So, basically a backwards signal flow before the amp
2) set an EG to an extremely short (like, milliseconds) loop, keytrack its rate so the loop time increases up the keyboard, and patch that to the VCA. In effect, this turns the envelope into a regular - if totally weird - oscillator! Then you can use the EG's ADSR controls to determine this oscillator's waveshape. For instance, Att=0, Dec=50, Sus=0 will be roughly saw-shaped, but increasing the Att will make it more triangular, so with this arrangement, increasing the EG's Att has the same effect as lowering the filter's cutoff. What's more, increasing the Sus level will give it a completely non-traditional waveshape, because (assuming the loop doesn't include the Rel stage) the cycle's start and end points will be different. And of course, you can use velocity, an LFO, or other mod source to modulate the EG rate, changing the wave shape over time
3) send a noise generator into a filter module, then send that filtered noise as a CV signal to somewhere else in the synth, such as to control a VCO's pitch. The results here can be pretty chaotic so moderation is key. But what's cool is that you can use the filter cutoff and resonance to tame and shape this crazy CV signal in ways no other arrangement of routings can provide. FYI, I prefer pink or brown noise over white noise for this, because white noise as a CV signal is just SO crazy that no matter what it is controlling, it seems to make the resulting audio signal itself just sound like white noise, which is only so useful
4) send any of the MIDI-controllable CVs (e.g., mod wheel, pressure) through non-traditional processors like the lag generator, quantizer, or rectifier, then fiddle with these controls; it's really interesting to see how these processors mangle the MIDI messages in unexpected ways
5) set the quantizer fairly low and send an EG through it; this way, the envelope stages are stepped rather than smooth
The power of Bazille - and all modulars - is the ability to connect modules in non-traditional ways. So my philosophy is that if you're not connecting things willy nilly like I described above, you might as well just use a semi-modular!
Here are some other cool things to do in Bazille:
1) use VCOs/noise generators as CV signals while increasing the rates of CV modules (EG, LFO, etc) and using them as audio-rate signals to the VCA. So, basically a backwards signal flow before the amp
2) set an EG to an extremely short (like, milliseconds) loop, keytrack its rate so the loop time increases up the keyboard, and patch that to the VCA. In effect, this turns the envelope into a regular - if totally weird - oscillator! Then you can use the EG's ADSR controls to determine this oscillator's waveshape. For instance, Att=0, Dec=50, Sus=0 will be roughly saw-shaped, but increasing the Att will make it more triangular, so with this arrangement, increasing the EG's Att has the same effect as lowering the filter's cutoff. What's more, increasing the Sus level will give it a completely non-traditional waveshape, because (assuming the loop doesn't include the Rel stage) the cycle's start and end points will be different. And of course, you can use velocity, an LFO, or other mod source to modulate the EG rate, changing the wave shape over time
3) send a noise generator into a filter module, then send that filtered noise as a CV signal to somewhere else in the synth, such as to control a VCO's pitch. The results here can be pretty chaotic so moderation is key. But what's cool is that you can use the filter cutoff and resonance to tame and shape this crazy CV signal in ways no other arrangement of routings can provide. FYI, I prefer pink or brown noise over white noise for this, because white noise as a CV signal is just SO crazy that no matter what it is controlling, it seems to make the resulting audio signal itself just sound like white noise, which is only so useful
4) send any of the MIDI-controllable CVs (e.g., mod wheel, pressure) through non-traditional processors like the lag generator, quantizer, or rectifier, then fiddle with these controls; it's really interesting to see how these processors mangle the MIDI messages in unexpected ways
5) set the quantizer fairly low and send an EG through it; this way, the envelope stages are stepped rather than smooth
The power of Bazille - and all modulars - is the ability to connect modules in non-traditional ways. So my philosophy is that if you're not connecting things willy nilly like I described above, you might as well just use a semi-modular!
Last edited by themagicalkamja on Mon Jul 16, 2018 4:00 pm, edited 1 time in total.
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- KVRAF
- 4122 posts since 23 May, 2004 from Bad Vilbel, Germany
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- KVRAF
- 4122 posts since 23 May, 2004 from Bad Vilbel, Germany
1) Patch +5V into a lag processor and use it as a 1-shot envelope
...
...
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themagicalkamja themagicalkamja https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=382481
- KVRist
- 122 posts since 14 Jul, 2016
...aren't all (non-looped) envelopes technically one-shot?Howard wrote:1) Patch +5V into a lag processor and use it as a 1-shot envelope
...
Are you saying +5 > LG > VCA > Out?
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- KVRist
- 238 posts since 3 Apr, 2016
The difference between a normal enveope and a one-shot envelope is that a one-shot envelope always sounds the same, no matter how long you hold the note. That's how the term is usually used at least, and it's exactly what the whole +5V + lag thing does.themagicalkamja wrote:...aren't all (non-looped) envelopes technically one-shot?Howard wrote:1) Patch +5V into a lag processor and use it as a 1-shot envelope
...
Are you saying +5 > LG > VCA > Out?
I quickly made an example patch, which you can download here.
The "5V lag envelope" controls the osc PD and the filter cutoff in this case. Play with the attack rate of the lag processor to get different results.
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- KVRAF
- 9129 posts since 6 Oct, 2004
The August 2016 print version of ComputerMusicMagazine
is now on the shelves in the U.S. with BazilleCM on the dvd,
and a dozen pages of how-to info, plus an interview with Urs,
with some videos available for download from the CM 'Vault' archives. And there is always the download version of the magazine,
as desired. I suspect the BazilleCM article is the biggest they've
ever done, on a single instrument.
Cheers
is now on the shelves in the U.S. with BazilleCM on the dvd,
and a dozen pages of how-to info, plus an interview with Urs,
with some videos available for download from the CM 'Vault' archives. And there is always the download version of the magazine,
as desired. I suspect the BazilleCM article is the biggest they've
ever done, on a single instrument.
Cheers
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- KVRAF
- 12352 posts since 7 May, 2006 from Southern California
I find that the 5v and Gate outputs don't get the appreciation they deserve.
With the 5v output, you can use one channel of a multiplexer as an offset for more than 1 parameter, similar in concept to the Macro controls on other instruments. Just patch the 5v to the input on a Multiplexer and patch the output of the multi to several CV inputs. The attenuator for that channel can then be used to manually control each of those CV inputs. This only creates a positive offset but many CV inputs have inverting attenuators, so you can lower some parameters while increasing others. You can still use one of the second set of channels on the Multi to mix in another CV source.
With the Gate output into the CV input on a multiplexer, you can have one signal pass through the output when a key is held and another pass through the output when a key is released. This is a great way to create complex envelope shapes. You can also send the Gate output to a Lag generator (or an LPF) to get a primitive ASR envelope. This is where I'd love some analog logic in Bazille. An OR comparison (the 'Max' part of Doepfer's Min/Max module) of two envelopes can be very useful.
It's also fun to use a highpass filter to get rhythmic modulations from a stepped CV source. When a DC signal passes through a highs filter, it acts like an integrator. When the value changes, the filter output jumps to that value and then decays to 0 at a rate determined by the filter frequency. This results in a kind of decaying pulse, each time the input value changes. Try clocking the sample and hold with a slow LFO, suing any CV source as the input and then send the output to a highpass filter. Or send a signal to the quantizer, set to only a few steps and then send the quantizer output to a highpass filter.
I used that technique to turn the filters into oscillators with a shark tooth waveform. Patch the 5v into a multiplexer and then patch the multiplexer out to a filter input. Patch the highpass output of the filter to an inverter and then the output of the inverter goes to the CV input on the multiplexer. Take an output from the filter to one of the VCAs. If everything is patched up correctly, the 5v will cause the output of the filter to jump to a high value and then dive back down to 0. Since the inverted version of that output is also controlling the output of the multiplexer, as the output of the filter rises, it closes the output of the multiplexer. As the output of the filter rises, the output of the multiplexer opens. Since the 5v is being fed to the multiplexer, and ultimately to the filter input, this configuration causes the filter output to rise and fall at a rate determined by the filter frequency (but also the gain and resonance). The result is a wave form which sounds very different from Bazille's other oscillators but it's also practically impossible to tune to a normal scale.
With the 5v output, you can use one channel of a multiplexer as an offset for more than 1 parameter, similar in concept to the Macro controls on other instruments. Just patch the 5v to the input on a Multiplexer and patch the output of the multi to several CV inputs. The attenuator for that channel can then be used to manually control each of those CV inputs. This only creates a positive offset but many CV inputs have inverting attenuators, so you can lower some parameters while increasing others. You can still use one of the second set of channels on the Multi to mix in another CV source.
With the Gate output into the CV input on a multiplexer, you can have one signal pass through the output when a key is held and another pass through the output when a key is released. This is a great way to create complex envelope shapes. You can also send the Gate output to a Lag generator (or an LPF) to get a primitive ASR envelope. This is where I'd love some analog logic in Bazille. An OR comparison (the 'Max' part of Doepfer's Min/Max module) of two envelopes can be very useful.
It's also fun to use a highpass filter to get rhythmic modulations from a stepped CV source. When a DC signal passes through a highs filter, it acts like an integrator. When the value changes, the filter output jumps to that value and then decays to 0 at a rate determined by the filter frequency. This results in a kind of decaying pulse, each time the input value changes. Try clocking the sample and hold with a slow LFO, suing any CV source as the input and then send the output to a highpass filter. Or send a signal to the quantizer, set to only a few steps and then send the quantizer output to a highpass filter.
I used that technique to turn the filters into oscillators with a shark tooth waveform. Patch the 5v into a multiplexer and then patch the multiplexer out to a filter input. Patch the highpass output of the filter to an inverter and then the output of the inverter goes to the CV input on the multiplexer. Take an output from the filter to one of the VCAs. If everything is patched up correctly, the 5v will cause the output of the filter to jump to a high value and then dive back down to 0. Since the inverted version of that output is also controlling the output of the multiplexer, as the output of the filter rises, it closes the output of the multiplexer. As the output of the filter rises, the output of the multiplexer opens. Since the 5v is being fed to the multiplexer, and ultimately to the filter input, this configuration causes the filter output to rise and fall at a rate determined by the filter frequency (but also the gain and resonance). The result is a wave form which sounds very different from Bazille's other oscillators but it's also practically impossible to tune to a normal scale.
Last edited by justin3am on Thu Jul 28, 2016 6:07 am, edited 1 time in total.
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- KVRAF
- 12352 posts since 7 May, 2006 from Southern California
Here is are some examples of that last patch:
http://www.3amnoise.net/bazille/filter_osc.zip
The 'filter_osc.h2p' patch is just to demonstrate the concept with as few cables as possible.
The other patches are from my Necrotizing Fasciitis bank (I think that came out wrong). None of the patches track pitch across the keyboard. Just hold a key and move your pitch bend and mod wheels.
http://www.3amnoise.net/bazille/filter_osc.zip
The 'filter_osc.h2p' patch is just to demonstrate the concept with as few cables as possible.
The other patches are from my Necrotizing Fasciitis bank (I think that came out wrong). None of the patches track pitch across the keyboard. Just hold a key and move your pitch bend and mod wheels.
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- KVRAF
- 12352 posts since 7 May, 2006 from Southern California
Looks like I killed it again!Howard wrote:
