Bazille - tips & tricks

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NerdMcBoon wrote: Just for fun, I quickly recorded a quick demo of some X0X-ish Bazille drums: Some Bazille drums.
That sounds great Nerd! :clap:
No band limits, aliasing is the noise of freedom!

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themagicalkamja wrote:What this essentially does, I think (somebody correct me if I'm wrong), is turn the modulating signal from a linear signal to an exponential signal.
Yeah, basically. Exactly I think it converts the linear to a power-of-two (x^2) signal.

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Here's one about LFOs. It's more of a tip than a trick, and (DISCLAIMER :lol:) is also mentioned in the manual. But I thought I'd mention it here, since it's pretty useful and some people don't RTFM. So, from the manual (p. 51):
Sending one modulation source to multiple destinations can make patches more rhythmically
coherent and manageable. For instance, you could use an LFO’s square for one modulation
(e.g. pitch), its triangle for another (e.g. cutoff), highpass-filtered lagged square for a third (e.g.
Fractalize) and rectified triangle for a fourth (e.g. oscillator volume)
.
In other words, don't be afraid to use multiple outputs from the same LFO module within a patch. This keeps things cleaner and also more rhythmically consistent, not to mention keeping the other LFO free for more modulation.
Last edited by themagicalkamja on Mon Jun 25, 2018 7:56 pm, edited 3 times in total.

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[deleted]

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New tip...

An earlier tip talked about how you can use multiplexes to make linear signals exponential. Well, apparently this isn't the full story.

The left and right inputs for each multiplex actually perform different calculations on the signal. This is why one side begets RM while the other begets AM when mixing audio signals (see the manual for details). As a result, the linear-to-exponential conversion only works as expected if you use the inputs on the left.

So this new tip concerns what happens when you use the inputs on the right. In short, you can use the the multiplexes to "wave shape" your signal in interesting ways.

For example, send an ADSR twice into the same multiplex: once into an input on the right, and once into the mod input at the bottom. Then take that multiplex's output and send into into the right-hand and mod inputs of a second multiplex. The more multiplexes you use in this way, the more and more distorted your ADSR will become until its shape is quite different from and more complex than the original, especially if using all four stages. Triangle LFOs, too, can be shaped, with results similar to but different from rectifying them. Square waves seem to be unaffected by this technique.

I've asked that this technique be included in some form in the manual's "tips and tricks" section. For more discussion about it and why it works the way it does, see this thread.

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1) Re envelopes: You can save a multiplex unit or two by using Rate Mod and Amp Mod (self-modulation).
2) Also try routing one or two of those multiplex signals through filter / inverter /rectifier / lag before going back into the loop.

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Howard wrote:1) Re envelopes: You can save a multiplex unit or two by using Rate Mod and Amp Mod (self-modulation).
Right on, excellent point! This should also work for LFOs, not just envelopes.
Howard wrote:2) Also try routing one or two of those multiplex signals through filter / inverter /rectifier / lag before going back into the loop.
Interesting thought. I assume that using the inverter should cause the resulting signal to be logarithmic rather than exponential...? And using a lag generator will allow some shaping of the resultant signal's exponential-ness?

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This trick is particularly niche, but..... WHOLE-TONE SCALES! :tu:

Set Osc Pitch Mod Res to 50 semitones and the Depth to 12. Then set the Quantizer to 12 as well. Lastly, send a ramp/LFO through the Quantizer and into the Osc Pitch Mod input, and hold down a key: The osc will cycle through a whole-tone scale (with whichever note you've pressed as the tonic)! Spooookkyyyyy

Remember to tempo-sync the ramp/LFO for extra rhythmic goodness. And if you want multiple octaves, just set the Pitch Mod Depth to 24, 36, etc., and make sure the Quantizer is set to the same value (the Quantizer is what locks the osc pitch to the notes of the whole-tone scale).

Now if only there were some way to lock the sequencer to non-chromatic scales...

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Here's a trick from the upcoming "Cookbook" - you can sweep through the harmonic series by using the FM mode "rel coarse" and setting the quantisation to precisely 1/10 of the FM amount. See attached preset.
Harmonics in Series.h2p.zip
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I cannot wait for the Cookbook Howard!
Computer musician / Ableton Certified Trainer / Mastering engineer
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3OP

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Howard wrote:Here's a trick from the upcoming "Cookbook" - you can sweep through the harmonic series by using the FM mode "rel coarse" and setting the quantisation to precisely 1/10 of the FM amount. See attached preset.
Sounds awesome! Will definitely have to attempt myself. I don't think I'd ever considered modding the PM with a sub-audio-rate signal. :dog: How embarrassing... If for no other reason, that seems like a great way to better understand the differences between the PM types.

What is this cookbook you speak of? I'm intrigued... Any sense of the release date? Will it be a free download or paid? Is it for Bazille specifically? Bazille needs more love :_( All it has is this thread (best thread on KVR IMHO) which I'm desperately trying to keep from getting buried haha

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nilhartman wrote:I cannot wait for the Cookbook Howard!
It will probably be bundled with a tutorial sound set.

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Definitely bundled with a tutorial soundset! :-D

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Howard wrote:Definitely bundled with a tutorial soundset! :-D
My body is ready. Cant wait for the cookbook!

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justin3am wrote: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.
5v is one of the few parts of Bazille I almost never use. My thinking: If 5v just creates a slight increase to the modulated parameter, why not just increase the parameter's knob directly? But this tells me that I just don't really understand 5v, because surely it can do more than that...

For instance, I've seen the phrase "like a macro" thrown around in several places to describe how 5v can be used, but I struggle to wrap my head around it. So justin3am, since you (1) mention it here, (2) seem to have a great grasp of Bazille, and (3) have a knack for explaining things, can you try again at explaining how 5v can work as a macro for controlling multiple parameters at once? And is there some way to do this without needing to MIDI map the multi's gain or control it with the mouse? Of course, anyone else can weigh in too :)

And is "like a macro" the only/best use for 5v? Or are there others?

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