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Joined: 06 Feb 2010 Posts: 955 Location: California
Posted: Tue Oct 16, 2018 10:04 am Post subject:
Did some more experimenting. Created a very fast looping envelope triggered by an AMS boosted LFO and patched that into the MS-20's output. Fashioned the generated envelope waveform into a jagged thing and held some chromatic notes. At first I thought the waveform was generating noise which would've been ideal but it turned out I was simply clipping. Adjusting the volume showed that the envelopes have an internal sample rate of 1.5kHz as well. _________________ paypal.me/CharlesFerraro
Would it be possible for you to put them on your Youtube channel too ? In fact, i'm rather comfortable with english language but sometimes it's more convenient for me to read the Youtube english automatic transcription. I think it's not possible on Vimeo.
Thanks a lot.
Joined: 06 Feb 2010 Posts: 955 Location: California
Posted: Tue Oct 16, 2018 1:16 pm Post subject:
No problem Liviou, I'll do that right now.
EDIT: Done! Even added extra notes in the one of the descriptions.
PS after googling it looks like you're correct, Vimeo does not auto-generate captions unfortunately. At least not for free like YouTube does. _________________ paypal.me/CharlesFerraro
Some excellent videos, Charles. You are really going deep into the Kronos engine here showing where the internal sample rate for LFOs as audio oscillators hits the Nyquist limit. It's funny, the Kronos isn't really a modular synth, but it is so flexible with it's synth engines and routing - you really can kind of treat it like one if you want to.
I'm not quite sure what I'll do with this info yet. The Kronos isn't particularly constrained for oscillators like a modular, where the cost per oscillator can be pretty high. So not sure if tapping an LFO or a ringing filter would ever be needed... good to know it's there though. Will have to think some more on it.
Thanks for making these. As always, I pick up a lot of extra tips in your videos in addition to the main feature, which I guess is a function of you understanding the machine so thoroughly! Some good insight into the AMS mixers here. I would have never thought to use a stopped LFO as a modulation source. Good trick!
I need tips on how to get LFO to make parameter modulations that slowly modulate up for a long duration. And then back down for the same duration.
Maybe 4 to 8 standard 4/4 120bpm measure duration.
I want to make a program that throbs a basic straight forward arp like pulse, which is easy for me to figure out on my own using LFO.
But then i want to modulate the intensity of the sound as it pulses.
Maybe i modulate one of the filters to give an intensity effect. Maybe one of the filters and some other parameter for a more dramatic change.
But more important is that the change in intensity via filter modulation or whatever parameter under LFO, be a slow gradual change in sound intensity that last 4 to 8 measures going up and the same comng back down.
And also that it does not reset with every key i press, but rather free cycles on it owns and in sync with tempo, regardless of playing keys or not.
I may run it with a basic MS-20arp to match the LFO pulse.
I guess my main issue is knowing if and how LFO can run slow gradual modulations that last across 8 measures.
Joined: 06 Feb 2010 Posts: 955 Location: California
Posted: Wed Oct 17, 2018 3:47 am Post subject:
Lightbringer wrote:
I'm not quite sure what I'll do with this info yet. The Kronos isn't particularly constrained for oscillators like a modular, where the cost per oscillator can be pretty high. So not sure if tapping an LFO or a ringing filter would ever be needed... good to know it's there though. Will have to think some more on it.
haha true, the Kronos definitely has oscillators to spare! I find the LFO trick is neat because you can patch it into whatever you like. For insteance you can subtly modulate filter cutoff for some interesting distortion. While you can do that in the MS-20 anyway, the trick allows you to do it in any other synthesis engine as well such as AL-1 or the Polysix. Since the LFO's are plagued by aliasing at high frequencies, it's best to stick with a sine. Tuning it an octave or two lower helps as well! _________________ paypal.me/CharlesFerraro
Joined: 06 Feb 2010 Posts: 955 Location: California
Posted: Wed Oct 17, 2018 4:28 am Post subject:
19naia wrote:
But more important is that the change in intensity via filter modulation or whatever parameter under LFO, be a slow gradual change in sound intensity that last 4 to 8 measures going up and the same comng back down.
And also that it does not reset with every key i press, but rather free cycles on it owns and in sync with tempo, regardless of playing keys or not.
I may run it with a basic MS-20arp to match the LFO pulse.
I guess my main issue is knowing if and how LFO can run slow gradual modulations that last across 8 measures.
The Common LFO will meet your demands. It won't reset with every key you press. You can find the Common LFO in the Common > Modulation > Common LFO tab.
The MIDI/Tempo Sync checkbox will lock it's cycles to tempo while still freerunning. Slow it down to 4 or 8 measures by choosing the whole note Base value and choosing 4 or 8 for the Times parameter.
It might be more intuitive to use the LFO as a unipolar source. Boost the offset parameter to +99 so the LFO only effects whatever you patch it into in a single direction. When you do that though, think of the modulation intensity as doubled. Let's say you have cutoff at 50%... modulating it 25% with a unipolar LFO will make the cutoff point actually reach 100% at the peak of the LFO's cycle. The reason is because each pole of a bipolar LFO is able to modulate a parameter from 0% to 100%. So a unipolar LFO actually has the reach of both poles combined which is 200%. _________________ paypal.me/CharlesFerraro
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