AL-1 Programming Analog Sounds Tutorial

[QuiRobinez]

This tutorial is burried in one of the threads where you didn't expect it, but i thought it was such a great contribution that it needed it's own thread so that everyone can use it and we can discuss the things he showed us in this tutorial.

Dan made this tutorial to help people getting a more analog type of sound out of the AL-1.

Here's the start of a tutorial. For now, it focuses only on sawtooth wave sounds, building to a simple pad and a few bass sounds. Many of these methods are already in the Parameter Guide, though there is at least one new one. Let me know what you think.

Download the accompanying file here:
http://www.danphillips.com/kronos/AL-1_Tutorial_1.zip

Start with an initialized EXi Program (this contains a single initialized AL-1 by default)
Go to the EXi1 4–1: OSC Basic page
Set both Osc 1 and Osc 2 waveforms to Saw
Set the initial phase for both Osc 1 and Osc 2 to Random
Set Osc 2 tune to +0008
Set Osc 2 frequency offset to +00.1Hz
Go to the 4–1: Program Basic page
Under Scale, set Random to 2

At this point, you have a rudimentary approximation of the sound from "Jump."

You can also experiment with the oscillator Edge parameter (which controls the brightness of the oscillator waveform - not a filter!), Drive, and Low Boost (which is designed to interact with Drive).

Next:
Go to the EXi1 5–1: Filter Basic page
Set Filter A frequency to 25
Go to the EXi1 5–3: Filter Modulation page
In the Filter EG section, set Filter A Velocity Int. to +75
Go to the 7–1: EG 1 (Filter) page
Set EG one attack time to 32
Now, you have a simple brass sound. Save it.

Go to the EXi1 5–1: Filter Basic page
Set Filter A resonance at 35
This produces a slightly thinner, buzzier brass sound

Go to the 7–1: EG 1 (Filter) page
Set the release time to 60
Go to the 6–3: Amp EG page
Set the release time to 60
Now, you have a brass/pad sound. Save it.

Experiment again with drive and low boost (Bypass off, drive 35, low boost 20; Reduce Amp Level to 055 to compensate for volume increase)

After experimenting, to back to the brass/pad sound from above.
Go to the EXi1 5–1: Filter Basic page
Set Filter routing 24db (four – pole)
Go to the 7–1: EG 1 (Filter) page
Set: Attack time to 75, Decay time to 80, Break and Sustain levels to +40
Go to the 6–3: Amp EG page
Set the Attack time to 50
Now, you have a basic version of the classic soundtrack pad. Save it.

Go to the 7–1: EG 1 (Filter) page
Make the following settings: Attack time 03, Decay time 40, Break and Sustain levels +40, Release time 40
Go to the 6–3: Amp EG page
Set Attack time back to 00 and Release time to 40
Set Osc 1 octave to -1[16']
Go to the 4–1: Program Basic page
Select Mono and enable Mono Legato
Now, you have a simple, classic bass sound.

Go to the EXi1 9–1: AMS Mixer page
We'll be setting up AMS Mixer 1.
Set the Mixer Type to Gate
Set the Gate Control source EG1 (filter), and the Threshold to +70
Under Gate Output, set Below Threshold to AMS A and EG1 (filter)
Set At and Above Thresh. to Fixed Value +70
This models the shape of the mini moog envelope.
Go to the EXi1 5–3: Filter Modulation page
In the Filter EG section, set Filter A Velocity Int. to +00
Under Filter A modulation, set AMS 1 to AMS Mixer 1, but leave the Intensity at +00
Set the Intensity Mod AMS to velocity, and in turn set its Intensity to +99
Now, the filter is modulated by the altered envelope shape, with the amount controlled by velocity.
Go to the 6–1: Amp/Driver page.
Set Drive to 30, Low Boost to 20 (remember, this is designed to interact with Drive), and Amp Level to 90
Now, you have a minimoog-ish base. Save it.

Set EG1 (Filter) Break and Sustain levels to +30, and Filter Frequency to 20; save this as "Darker."

Experiment with setting Resonance to 00. This is a subtle change; it makes the sound a little more full, but also makes the character slightly less distinct.

For EG (filter): experiment with Decay times between 20 and 50.

After experimenting, to back to the "Darker" sound from above.
Set EG1 Break and Sustain levels to +50
Set Filter A Frequency 16
Set Resonance to 26
This produces a different, thicker-sounding bass.

[QuiRobinez]

I've tried this tutorial because i also had problems getting dark analog type of sounds out of the AL-1. This tutorial showed me how much the Filter envelopes influences the sound (much more then i expected).
Also the Scale function was something i never tried out before.

When i entered the values of the Classic bass sound i immediately fell in love with the raw dark sound it produced.

The Gate AMS trick is a nice one, if i understand your AMS trick correctly then you modified the complete velocity range to a new custom velocity range between 0 and 70 to influence the filter. Am i correct about this?

thanks for this tutorial, i've learned quite a lot from this tutorial about how the AL-1 behaves with the settings from your tutorial.

[SanderXpander]

I haven't physically made the sounds yet but was also confused reading that AMS mixer bit, it was hard to follow without trying it. Is what Qui said correct? What would be the point of having the filter respond to a smaller velocity range? You can already set how much it responds to velocity, and set the base cutoff frequency, right? (not to mention the Mini doesn't actually have velocity response)

[Kevin Nolan]

An excellent tutorial. In case you are unaware - there's a similar tutorial written by Dan in the Kronos Parameter Guide on the MOD-7 engine. It's part of the opening section of that chapter. I followed it, built the sounds in it, and it helped hugely with understanding its structure and architecture.

[danatkorg]

The Gate AMS trick is a nice one, if i understand your AMS trick correctly then you modified the complete velocity range to a new custom velocity range between 0 and 70 to influence the filter. Am i correct about this?

It's doing something different. Note that the Gate does not take velocity as an input; it is operating solely on the output of EG1. If EG1's output is below 70, the gate outputs EG1. If EG1's output is at or above 70, the gate outputs a steady value of 70. This alters the shape of the envelope; essentially, the peaks are cut off. This models the shape of the mini moog envelope. We then use the output of that gate instead of the direct output of EG1.

[QuiRobinez]

The Gate AMS trick is a nice one, if i understand your AMS trick correctly then you modified the complete velocity range to a new custom velocity range between 0 and 70 to influence the filter. Am i correct about this?

It's doing something different. Note that the Gate does not take velocity as an input; it is operating solely on the output of EG1. If EG1's output is below 70, the gate outputs EG1. If EG1's output is at or above 70, the gate outputs a steady value of 70. This alters the shape of the envelope; essentially, the peaks are cut off. This models the shape of the mini moog envelope. We then use the output of that gate instead of the direct output of EG1.

thanks!

Do you also have some tips about how to use the multifilter? I'm a big fan of that filter, but i really would like to know your thoughts about how to use it when programming sounds.

[SanderXpander]

I'm not sure that I understand the purpose of this completely. Effectively, you "flatten" the peak (like a hard limiter with audio I suppose), and supposedly the "real" EG value takes over again when it drops below 70? Are you saying that for the Mini, the Decay portion of the ADR starts flat and only drops after a while? I haven't played with the vintage Mini enough to realize the implications of this, and I think my Voyager and my Micro have different envelopes.

As an aside, unless I'm missing something, your EG in your example doesn't seem to go above 70?

It's crazy how profound such a small trick can be
Thanks again for taking the time to do this.

[danatkorg]

I'm not sure that I understand the purpose of this completely. Effectively, you "flatten" the peak (like a hard limiter with audio I suppose), and supposedly the "real" EG value takes over again when it drops below 70? Are you saying that for the Mini, the Decay portion of the ADR starts flat and only drops after a while? I haven't played with the vintage Mini enough to realize the implications of this, and I think my Voyager and my Micro have different envelopes.

As an aside, unless I'm missing something, your EG in your example doesn't seem to go above 70?

It's crazy how profound such a small trick can be
Thanks again for taking the time to do this.

The envelope signal in the mini is apparently clipped internally, perhaps unintentionally. The envelope itself rises and falls as expected, but due to that internal clipping the filter doesn't get the peak at the top of the signal. Instead, the top has a flat section, the length of which is variable depending on the attack and decay times (see the graphic below). This "flat top" means that the filter spends more time at the maximum modulation level, which can have a significant effect on the timbre.



You're correct that this also limits the maximum value of the envelope; in practice this isn't generally an issue, but if you need more signal you can use various means to increase the gain (such as redundant AMS routings, or the AMS Mixer A+B or Offset types). As a side point, in the KRONOS AMS signals have a significant amount of headroom; it's pretty hard to make the AMS signal itself clip, though with many parameters you may reach maximum modulation fairly easily.

In the course of writing this reply, I came across a page on synthesizers.com which describes doing exactly the same thing in an analog modular synthesizer, using a dedicated clipper/rectifier module:

http://www.synthesizers.com/egpunch.html

[danatkorg]

By the way - Qui is very kind to give me credit, but perhaps this thread could be changed to simply "AL-1 Programming Analog Sounds Tutorial," without including my name?

[SeedyLee]

The Gate AMS trick is a nice one, if i understand your AMS trick correctly then you modified the complete velocity range to a new custom velocity range between 0 and 70 to influence the filter. Am i correct about this?

It's doing something different. Note that the Gate does not take velocity as an input; it is operating solely on the output of EG1. If EG1's output is below 70, the gate outputs EG1. If EG1's output is at or above 70, the gate outputs a steady value of 70. This alters the shape of the envelope; essentially, the peaks are cut off. This models the shape of the mini moog envelope. We then use the output of that gate instead of the direct output of EG1.

Stop blowing my freakin' mind! Would never have considered such an approach.

Incidentally, how do you know this is how the Mini Moog behaves, and that this was how it should be modelled?

[levioter]

Thanks Dan, this is really very interesting !
Such a detailed info is of a great importance for creating MiniMoog realistic sounds !
I tried that and I really can hear the power of the Mini in my Kronos now !
The difference with (old) MiniMoog is that I have to wait at least 15mn for the oscillators to warmup before tuning them. The Kronos is ready after "only" 2 mn
More seriously thanks to that trick I think the filter is better modeled !
BTW what about using the same kind of gate on the Amplifier enveloppe ?
I assume what you show us is also applicable on the Amplifier enveloppe isn't it ?

Anyway thanks for attending this forum and helping us in our quest for Vintage Analog sounds.

Cheers

[danatkorg]

Stop blowing my freakin' mind! Would never have considered such an approach.

The Gate is a pretty versatile tool.

Incidentally, how do you know this is how the Mini Moog behaves, and that this was how it should be modelled?

Korg R&D has some experience with the mini:

http://www.korg.com/services/products/o ... h_mini.htm

[SeedyLee]

Thanks again Dan. This tutorial has really opened up some of the sonic possibilities of AL1 for me.

Using the drive and low boost parameters really helped achieve a warmer, more classic analogue sound for me. They're parameters I hadn't really paid too much attention to previously, so this was an eye-opener.

With regards to the pitch settings, rather than setting the common Scale Parameter setting I prefer to use a very low frequency random LFO to modulate the pitch of each oscillator individually by a subtle amount (say between 3 and 8 cents). This creates some interesting beating and phasing which to me is reminiscent of older analogue equipment. Does this sound right to you Dan?

After following this tutorial i'm getting some very pleasing results, so thanks again!

[Corgy]

@Qui, thanks for digging this one out -
@Dan, thanks for your tutorial and the explanation, really enlightning, specially how to use the gate to simulate the mini.

Is there a place in the Korg Kronos forum, where such gems are collected like in a library and a possibility to find them quickly?

I think, there are more gems that have too much worth for the community to sink down in the list of topics day by day. I know, there is a search function, but ...

[Vlad_77]

@Qui, thanks for digging this one out -
@Dan, thanks for your tutorial and the explanation, really enlightning, specially how to use the gate to simulate the mini.

Is there a place in the Korg Kronos forum, where such gems are collected like in a library and a possibility to find them quickly?

I think, there are more gems that have too much worth for the community to sink down in the list of topics day by day. I know, there is a search function, but ...

I agree Corgy! Perhaps Sharp or one of our illustrious mods could do a sticky with tips, tricks, and tutorials.

Whaddya say oh mighty mavens of the Korg Forums hegemony? Will ya do it?