Fwd: User circuits

[John Paul Burtell]

here is another effect that i use often to create ambiences and drones. it's essentially a diffusion delay that can produce interesting sounds when the feedback is turned up to 100%. i'm positive that i've done some things that go against proper DSP techniques (especially with Andy's est_RMS circuit), but again i think that's the charm of ABox - you can break the rules and still get neat results.here are the basics:

 

X - signal input

Fb - feedback amount

F - filter cutoff (must be above 0Hz to hear any results...just saying)

+- - pitch warp, adjusting this knob adds a pitch vibrato effect to the signal

L - left channel output

R - right channel output

 

as always, feel free to use and abuse this how you see fit.

 

best to all and happy holidays!

 

JP

[Keith Blackwell]

On 12/18/2011 9:52 AM, John Paul Burtell wrote:
> here is another effect that i use often to create ambiences and drones.
> it's essentially a diffusion delay that can produce interesting sounds when
> the feedback is turned up to 100%. i'm positive that i've done some
> things that go against proper DSP techniques (especially with Andy's
> est_RMS circuit), but again i think that's the charm of ABox - you can
> break the rules and still get neat results.here are the basics:

Wow. Infinite diffuse reverb. But how? I understand the 3 long
multi-tap's, but that isn't enough to do what this does. Is it
those differential systems in the output of each era? I don't
really understand what they do. It basically does not need
careful tuning the way most reverb circuits do -- the delay amounts
pretty much don't matter much. And that's what freaks me out. It
sounds very well balanced. But how?

Nicely done.
--
Keith W. Blackwell

[John Paul Burtell]

hi Keith,

creating this effect was trial-and-error for the most part.
experimenting with different tap points and times to find a sound that
was "good" (i know that's a relative term) to my ears.

each era is basically a multi-tap delay fed back on itself. the
differential part of the circuit is taken from Andy Turner's est_RMS
circuit. it estimates the RMS of the output from each mixer channel
and uses that measurement to help keep the signal at a tolerable
level.

why it sounds balanced i cannot quite say; i'm a little embarrassed to
admit that. i can say that the division and differential objects are
absolutely necessary to this circuit not destroying your speakers or
ears. my guess is that the diffused signal folded over itself makes
for a kind of steady signal that is easier for the RMS part of the
circuit to estimate.

it's not perfect by far! but i sincerely appreciate the compliments
and i hope you can find some use for it. :)

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[Andy Turner]

Very nice! You guys are both doing neat stuff.

Heh, setting the feedback greater than 1 has appeal.

-A

[John Paul Burtell]

i will have to try that one.

thanks Andy! ABox still gives me the most enjoyment and satisfaction
out of my softsynths. one just has to be willing to spend some time
with it. :)

[John Paul Burtell]

OK, so here goes some more insanity.

 

i call it hex box. it's nasty, it aliases, it can produce some ugly sounds. that being said, it can also introduce some interesting effects and artifacts into whatever audio you feed it with.

 

it is basically a looping circuit with variable control of recording a playback speeds and positions with an integrated pitch-tracking filter.

 

it is inspired by home-made and boutique hardware noise boxes such as the Weird Sound Generator and Wicks Looper.

 

enjoy!

[Keith Blackwell]

On 3/15/2013 8:51 AM, John Paul Burtell wrote:
> OK, so here goes some more insanity.
>

> i call it *hex box*. it's nasty, it aliases, it can produce some ugly sounds. that being said, it can also introduce some interesting effects and artifacts into whatever audio you feed it with.

>
> it is basically a looping circuit with variable control of recording a playback speeds and positions with an integrated pitch-tracking filter.
>
> it is inspired by home-made and boutique hardware noise boxes such as the Weird Sound Generator and Wicks Looper.
>
> enjoy!

Cute! Or, insane, as you said.

Takes some non-obvious tuning of the inputs to get it to be more than just filtered noise, though.
I found that I preferred some slightly different control mechanisms internally for the position oscillators (esp. for playback), and I even ran them through an RC with two or four times the 1/Samples rate for T.
One of the things I wanted to do with it was keep the speed closer to the "normal" rate, positive, instead of ranging + and - around 0.
It's too bad there is no interpolation on data file samples the way there is on delays -- it could smooth out some of the harshies.
I think you can also vary the sr input instead of altering the P sweep to get the same variation in speeds, can't you?

Thanks for sharing.

--
Keith W. Blackwell

[John Paul Burtell]

thanks for the feedback, Keith...no pun intended. i would agree that using the sr input would probably allow for more predictable control over recording and playback; however, this circuit is intended to be noisy and unpredictable. i guess i've been listening to too much Merzbow lately. ;)

 

as always, anyone is welcomed and encouraged to alter the circuit and share their results. happy experimenting!

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[Andy Turner]

Neat!

Here's a fun little variation ... reminds me of too much coffee :-)

--A

 

 

[Keith Blackwell]

On 4/5/2013 7:32 PM, Andy Turner wrote:
> Here's a fun little variation ... reminds me of too much coffee :-)

I keep expecting to hear "Number nine, number nine, number nine"...

--
Keith