I think you should have used [line~] instead of [line], it works better with amplitude control. I really like this kind of sci-fi score experimentation.
Hi Simon, I am a very enthusiast synth programmer, mastering the complex Kurzweil PC3, but Pur e Data has been a rock in my shoe for many years. This video has been my first really product ive learning with PD, so I am enormously grateful to you.
This video is a delight to watch and listen to. I'm not a PD user but it was still immensely useful to see the sound come to life in real-time. Thanks!
Hey. I really like your videos and enjoyed this one as well. You might have figured it out by now, but it might be of interest for the inclined viewer: you could have set a [delay] parallel to the line, which gets set and triggered like the release message. 😀
I found this tutorial from the link in your recent Eurorack Krell example (Dec 22, 2022) . Thanks! I thought you might like to know that folks are still doodling around with inspiration from the older posts. For the end-of-cycle issue (~9:20 in this video), an alternative might be: [line~] -> [env~] -> [change 0] -> [sel 0] -> [send EOC] (using [line~] as Mister Conscio suggests in the pinned comment set. For [line] you can, of course, eliminate the [env~] follower.) I had great fun adding quantized scales to the carrier and/or the modulator oscillators, still with independent random note selection. The weirdness of unpredictable C/M ratios still leads to cool variations in timbres, but different scale constraints seem to partially establish approximate (major, minor, lydian, etc) sonic playing fields. Or maybe it's just my imagination. :-)
Ha! Thanks! Good ideas here. There are definitely different (better) ways to do things. I tend to get the sound I want, then not worry too much about revisions, but glad to hear this can still serve as a starting point!
I think you should have used [line~] instead of [line], it works better with amplitude control. I really like this kind of sci-fi score experimentation.
I think you're right. For those seeking more info - forum.pdpatchrepo.info/topic/5315/line-line-vline-and-adsr-envelopes
Yup. [line~] gets rid of the digital crunchiness of the envelope.
Your support for arts&humanities is gratefully acknowledged
It's purely out of my own self interest!
Hi Simon, I am a very enthusiast synth programmer, mastering the complex Kurzweil PC3, but Pur
e Data has been a rock in my shoe for many years. This video has been my first really product
ive learning with PD, so I am enormously grateful to you.
Great to hear! Always glad to hear that these videos are helpful. Good luck with Pd!
great tutorial had great fun please make more of this kind
This video is a delight to watch and listen to. I'm not a PD user but it was still immensely useful to see the sound come to life in real-time. Thanks!
Thanks for tuning in. Check back in a week or so, I might have a video in a software you like better!
@@SimonHutchinson Noted! But I'll be back even before then.
Great tutorial!
Thank you!
Hey. I really like your videos and enjoyed this one as well.
You might have figured it out by now, but it might be of interest for the inclined viewer: you could have set a [delay] parallel to the line, which gets set and triggered like the release message. 😀
Very cool
Neat
I found this tutorial from the link in your recent Eurorack Krell example (Dec 22, 2022) . Thanks! I thought you might like to know that folks are still doodling around with inspiration from the older posts.
For the end-of-cycle issue (~9:20 in this video), an alternative might be:
[line~] -> [env~] -> [change 0] -> [sel 0] -> [send EOC]
(using [line~] as Mister Conscio suggests in the pinned comment set. For [line] you can, of course, eliminate the [env~] follower.)
I had great fun adding quantized scales to the carrier and/or the modulator oscillators, still with independent random note selection. The weirdness of unpredictable C/M ratios still leads to cool variations in timbres, but different scale constraints seem to partially establish approximate (major, minor, lydian, etc) sonic playing fields. Or maybe it's just my imagination. :-)
Ha! Thanks! Good ideas here. There are definitely different (better) ways to do things. I tend to get the sound I want, then not worry too much about revisions, but glad to hear this can still serve as a starting point!