"First Snow" [video]
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confusedmachine
- Common Wiggler
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- Joined: Mon Jul 28, 2014 2:47 am
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Leisure Cove
- Veteran Wiggler
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- Joined: Tue Aug 19, 2008 11:35 am
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Thanks again guys! Means a lot 
(1) turn the Tonic control all the way down. The Telharmonic will not go into sub-audio territory, but instead gets especially rich at low frequencies.
(2) send the H and P outs to VCAs and modulate them with the same envelope (in the video: QMMG channels 1 and 2, modulated by Maths Ch. 4)
(3) mix the H and P VCAs (I have P set slightly higher than H here-- QMMG channels 3 and 4 for reference)
(4) send an inverted copy of the envelope from step (2) to the Tonic CV input, attenuate to taste. I was going for a slight rise after the initial hit, but it's pretty subtle.
(5) to accentuate the "string" illusion of the patch, I ran QMMG channels 3 and 4 out to a stereo track in my DAW and added a chorus plug-in. It gave the sound some additional movement and reacted well to dynamics.
(6) finally, I followed the chorus with a reverb. The goal here was to build a "body" for the strings to sit in, rather than just to make it sound like strings were being struck in a cathedral or whatever. Basically, I rolled off some of the high end and set the size, decay and wet/dry to where it felt right.
You don't have to go in-the-box to get the sound-- an Erbe Verb and that new Audio Damage Chorus can cover the last couple of steps-- but it was the most efficient way for me to go about it.
Beyond that, a slow LFO controlling the Centroid position just a little bit helps add life over time.
Hope this helps!
I can tell you how I went about it, although I'm sure there are other ways:EnricoGaruda wrote:How About the piano sound of Telharmonic? can You explain how to achieve that?
(1) turn the Tonic control all the way down. The Telharmonic will not go into sub-audio territory, but instead gets especially rich at low frequencies.
(2) send the H and P outs to VCAs and modulate them with the same envelope (in the video: QMMG channels 1 and 2, modulated by Maths Ch. 4)
(3) mix the H and P VCAs (I have P set slightly higher than H here-- QMMG channels 3 and 4 for reference)
(4) send an inverted copy of the envelope from step (2) to the Tonic CV input, attenuate to taste. I was going for a slight rise after the initial hit, but it's pretty subtle.
(5) to accentuate the "string" illusion of the patch, I ran QMMG channels 3 and 4 out to a stereo track in my DAW and added a chorus plug-in. It gave the sound some additional movement and reacted well to dynamics.
(6) finally, I followed the chorus with a reverb. The goal here was to build a "body" for the strings to sit in, rather than just to make it sound like strings were being struck in a cathedral or whatever. Basically, I rolled off some of the high end and set the size, decay and wet/dry to where it felt right.
You don't have to go in-the-box to get the sound-- an Erbe Verb and that new Audio Damage Chorus can cover the last couple of steps-- but it was the most efficient way for me to go about it.
Beyond that, a slow LFO controlling the Centroid position just a little bit helps add life over time.
Hope this helps!