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Posts from April 2013

Teaser Photo of U-HE Diva’s New Modules


I just nabbed this off of the the U-HE Facebook page…click image to see full-sized view..

New Diva modules arriving in June: Digital Osc, Uhbie-Filter and Arpeggiator/Sequencer. Here's a preliminary screenshot :-)

I pulled further detail from some of Urs’s posts on KVR:

It's got two oscillators. Each with 8 waveforms. Each waveforms has two "Control" parameters that can be modulated.
Most notably:
- TriangleMod: Does a foldback-distorted triangle wave combined with a symmetry-warp function
- SuperSaw: Does a sawtooth with 6 additional sawtooth mixed in, ad variable detune
- Feedback: Does a sawtooth with distorted feedback at variable (tuned) delay and gain
- Noise: Does noise with adjustable bandpass filtering and cutoff
- PWM: Does PWM with an invented-by-u-he pseudo-resonance control
- plus another sawtooth and triangle waveform
Both oscillators can interact by Ringmodulation, Sync and Crossmodulation.

Urs also mentioned the Uhbie filter will also be in Zebra 3.

On the arppegiator Urs indicates:

The sequencer can work in step mode, where the white keys switch to "dub", "replace", "ins", "del", "startify", "<" and ">". The 3 black keys to the right become "CC", "pause" and "tie". CC records ModWheel, BreathCtrl and Expression for each step.

You can also record live, while the sequencer is running. You can layer notes, replace them, pause them, tie them on the fly.

On palyback you can switch between 7 sequences at any time. You can either noodle over them on the keyboard, or use the keyboard to transpose the sequence. You can even layer sequences in realtime, e.g. to add a little variation here and there.

The arpeggiator is very basic but very powerful. It can program the sequencer, and it can transpose it.

Mark Mosher
Synthesist, Composer, Performer

My 100th Patch with Absynth – LFO Rotors

my song absynth

I went on a bit of a synth “walk about” in the last year and mainly went deep with one synthesizer for programming from INIT – the mighty Absynth. Yesterday maked the 100th patch I’ve made with it.

This a sound design experiment using three samples as oscillator sources. Sample 1 is a recording I made of my daughter 10 years ago (I left the beeps in from the low budget digital recorder I used at the time). Sample 2 is crowd noise from a CU Basketball game. Sample 3 was made by resynthesizing a bell through an additive synth called Morphine which I then loaded into Absynth in granular mode.

I then turn down the volume on all oscillators and use LFO’s with square waves running in mono-mode and in series to modulate the OSC volumes. So the LFOs act as a gate shaped by the LFO waveform turning on the audio round-robin as the samples play out. I then modulate the LFO speed with a performance slider all the way up to audio rates as the piece progresses.
This is ALL absynth including effects (resonator with surround motion).

So thanks to Brian Clevinger for making Absynth (which will continue to be a main focus). Also thanks to John Bowen for showing me his Solaris Synth rotors a few weeks back when I was in Seattle for Pacific Northwest Synthfest which inspired the sound design concept behind this piece. You both have made amazing instruments!

Mark Mosher
Synthesist, Composer, Performer