There are many ways to control the volume of your presets in Absynth and many options are not on the same page. This being the case, I offer you a few tips with screen shots to help you wrap your head around overall volume adjustment technique in Absynth.
Controlling Channel Volume
First off, you can control the volume of each of the channels in the preset using the volume sliders ate the bottom of each channel while designing your sound.
Set Overall Preset Volume
When you have finished your sound, go to the “Perform” page. Then adjust “dB” value to set the overall volume of the preset relative to other presets in your library.
This setting is also handy a handy way to change the volume of presets in factory or third party library that are too loud or too soft for your taste.
Automatic Channel Level Adjustment
You can also have Absynth automatically ajust the levels so that the sum of the tree audio signals of channels never exceeds 0 db.
To set this go to “File”>”Options”>”Genera” then select “Auto balance patch channels.
I only use this last method when I’m designing sounds that might have crazy volume or pitch transients to protect my ears and speakers. Once I’m satisfied with the overall patch, I turn this off and manually tune the volume per the “Controlling Channel Volume” section above to achieve more dynamic sounds.
This song was performed using Tenori-On as a MIDI controller and live sequencer driving racks for synths hosted in Ableton Live. The visuals are generated on-the-fly using live camera input as the only source with real-time visual FX.
[project ruori] (http://www.ruori.org) for close-up video footage Paul A Vnuck Jr. for opening still photo Greg and Hong Waltzer for hosting such a wonderful event Edward B Siedzik for running sound Anna E Siedzik-Torres for running lights
First off, three cheers for Waldorf for putting energy into a synth released way back in 2007! There is no change log in the firmware zip files and instead, Waldorf’s Kay Dee is communicating and taking input for this update via Waldorf Blofeld group on Facebook https://www.facebook.com/groups/8492783249/
It’s been a while since Waldorf worked on Blofeld and it may be a while before they circle back, so now is your chance to test and give feedback!
One major reason to update is they are using software to correct for the issue of encoder twitchiness some users have reported. Kay Dee from Waldorf mentioned out on Facebook that if this update didn’t address your issues, you most likely have a hardware issue and should have your unit serviced. There is no change log in the firmware zip file, but I’ve gleaned the following from Kay’s Facebook posts:
Between the last official version and this version, there were sum interim betas. 1.2 introduced some bugs with gui (sine waveform went missing), phasing problem and jumping value when you turn volume knob. They are fixed.Other value optimization for knobs.
Sync lfo/arp fix. This was a major complaint with the last official version. I’ve not tested it, but early reports on Facebook indicate sync is much improved.
Encoder fix and some system fixes.
1.18-> 1.2 fix now you can use two wavetables/samples at osc1+2 at the same time.
Firmware update/downgrade now possible
General system Optimization
Blofeld Keyboard Edition Update
Now you can play a single "Part" with the keys. Changing the Global MIDI channel will change the Part. Omni will play all parts at the same time, so you can use this for layer sounds.
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Music Production Notes All synth elements are from the Nord Lead 4 being both played live and sequenced live via Octatrack. I make heavy use of trig-level automation to manipulate parameters on the Nord Lead via MIDI CC messages. I also sequenced real-time automation plus manipulate the Nord on-the-fly.
The Octatrack also acted as a mixer allowing me to record audio down to a Zoom H2n digital recorder in real-time in one-pass with no edits. Drums are samples sequenced within Octatrack.
Video Production Notes I used a combination of practical projection with video feedback, real-time video effects via two webcams run through visual Software Resolume, and primary footage captured with a GoPro. I then composited all the shots in video editing software with only a teeny bit of post-production to create this dark – almost old-school analog video processing vibe.
The computers in the video are there to process and capture video from the two web cams - plus are part of the shot as a story element and for side-lighting. One is being used to project a camera in real-time over my right shoulder. This same camera is also seeing the projection which causes video feedback.
This rig is quite snappy, so all the latency between the different versions of my image are intentional introduced with the video editing software to create tension.