It would also be nice to switch between external midi control, internal BPM synced step sequencer or internal midi synced lfo action.
Even just a 16 step sequencer would be cool for filter fun.
MSF-1 Midi Filterbox
so you are an preset hore?MD69 wrote:Hi Hifiboom,
For sure we can do what GAT'r do using the sequencer your device and delay, but it's more a matter of convenience. When you experiment and found a nice result, it's simpler to save your finding in one preset than spread in 3 one
cheers
Michel
maybe I`ll build a combined filterbox that also has other stuff, but for this one, its meant as an emulation of the ROT, you won`t see a integrated delay.
And for the sequencer section, I aggree that it is more fun to play around with an internal sequencing unit, but when it comes to exact results, the external sequencing is more useful IMO....
internal sequencing normal has to be based on a midi clock and this can go out of sync easily.
And its pretty annoying when something is not in sync with your song context, especially with higher bpm counting music.
BTW the AFB sequencing was always out of sync with the sequencer.
So it was more useful for making audio loop snippets which you had to cut to fit into song context.
pretty annoying....
take the MSF-1 as what it is: a precise note based gate / filter with special focus on a quality filtersound and tight sync.
I would be more interested in an expansion of the filter section giving you additional options for the filter lets say a highpass and bandpass mode. This can sound pretty awesome when modulated thorugh an sequence with a followed delay unit.
excellent, thanks.Bifop wrote:Hifiboom, this a fantastic sounding and very useful device !!
It works in XTC mode as well. I really dig the Hifiboom filter sound. Hyper precise sweeps that cuts like a knife ....Bravo and thanks for this
An important part of the usability of the filter is that it stays more or less equal in volume unindependent of what setting you dial in with resonance and cutoff. Thats very important.
So when you use the modulation here in a song context nothing pops out unpleasingly loud or into the opposite direction.
I rather spend my time on microtuning and the quality of less features than adding an endless amount of features that sound mid-classy.
-> Power is nothing without control.
I have found a way to use it, and will wait for any further developments.
I won't even bust your balls about what else I would like to see.
I have seen a beautiful free device that seems to have emulated a great filter, and it was free.
I will go do a little work and place it where it needs to be. On my old ARP Strings, and Melotrons. Maybe even w/ a flanger and slow LFO on my clavinet samples.
Thanks Again, Take A Break Already,
I won't even bust your balls about what else I would like to see.
I have seen a beautiful free device that seems to have emulated a great filter, and it was free.
I will go do a little work and place it where it needs to be. On my old ARP Strings, and Melotrons. Maybe even w/ a flanger and slow LFO on my clavinet samples.
Thanks Again, Take A Break Already,
Your explanation of the constant volume that adjusts during resonance peaks and dips is an overlooked feaature.
I never did buy the Waldorf Q Rack, but I loved that Filter. It reamined constant throughout it's entire frequency range also, even up to where the human ear loses it's ability to follow, I'm sure Vampire Bats, and Batman could hear it though.
I never did buy the Waldorf Q Rack, but I loved that Filter. It reamined constant throughout it's entire frequency range also, even up to where the human ear loses it's ability to follow, I'm sure Vampire Bats, and Batman could hear it though.
Jimmy,
maybe I`ll port that filter quality to a modular module soon. It has some improvements over the modular module I posted earlier.
I also try to work out aliasing free oscillators, but it seems to be a hard job with the existing math atoms...
I think both filter and oscillator quality make a big part of a quality synth.
maybe I`ll port that filter quality to a modular module soon. It has some improvements over the modular module I posted earlier.
I also try to work out aliasing free oscillators, but it seems to be a hard job with the existing math atoms...
I think both filter and oscillator quality make a big part of a quality synth.
I like it
If you are using an MVC in there can you put a "portamento" knob in? to change quickly from smooth LFO type filter sweep to sequenced filter in fingered mode would be like "glide" easily controlled from your sequence.
of course it can be done in the host, but have to send a lot more MIDI data.
If you are using an MVC in there can you put a "portamento" knob in? to change quickly from smooth LFO type filter sweep to sequenced filter in fingered mode would be like "glide" easily controlled from your sequence.
of course it can be done in the host, but have to send a lot more MIDI data.
Absolutely superb - I have interpole but this will get used more.
Thanks
Thanks
There are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don't know. But there are also unknown unknowns. These are things we don't know we don't know.
some great ideas here. as I said in various threads, I have very little time at the moment. This will change in ~ 1 month. And I will be happy when I can get back on developing stuff.. and continue current "on hold" projects...
I have various other ideas,
+ I wanna update my ACD-1 Delay processor with other filters that sound less "hard" like the current ones + the mentioned improvements about cross mixing the delay lines....
and other stuff....
@Refrochia:
I love interpole and it has some very nice filter.... and I love the interpole VCA drive section.... good to get some analog drive on the drums....
but sometimes its hard to bring it into a rhythm context. Thats where the msf-1 filter comes in. Its not the "can-do-everything" filterbox, its simply that I missed a standard midi sequenced gate in the cw environment, so I started this project and then I though "hey, it would be cool to combine this with a filter" and it remined me of the AFB-16 box. So I took some samples giving the sound of the AFB-16 and tuned my filter to come close in general... and ended up making an concept emulation. I will never say it sounds exactly the same.
maybe a switch to use it without the sequencing part could be useful also...
I want to dig in deeper also into this filter stuff and its not unlikely that I can come up with something even better sounding.
and I wanna bring some stuff into some modular modules...
maybe a filter with more than just the normal inputs: not just cutoff and resonance...maybe with drive and maybe some unconventional new parameters.... like
-filter tuning and and
-dry forwarding in res feedback chain, which is very important for the "musicalitly" of the filter, the linear gain of the filter at various settings(res, cutoff)
-more distored resoance or less, and so on.....,
nothing speaks against parameterizing these things also, so you can tune the filter for a dedicated patch... It makes big differences in final sound..
lets see...
thanks for the feedback. much appreciated
I have various other ideas,
+ I wanna update my ACD-1 Delay processor with other filters that sound less "hard" like the current ones + the mentioned improvements about cross mixing the delay lines....
and other stuff....
@Refrochia:
I love interpole and it has some very nice filter.... and I love the interpole VCA drive section.... good to get some analog drive on the drums....
but sometimes its hard to bring it into a rhythm context. Thats where the msf-1 filter comes in. Its not the "can-do-everything" filterbox, its simply that I missed a standard midi sequenced gate in the cw environment, so I started this project and then I though "hey, it would be cool to combine this with a filter" and it remined me of the AFB-16 box. So I took some samples giving the sound of the AFB-16 and tuned my filter to come close in general... and ended up making an concept emulation. I will never say it sounds exactly the same.
maybe a switch to use it without the sequencing part could be useful also...
I want to dig in deeper also into this filter stuff and its not unlikely that I can come up with something even better sounding.
and I wanna bring some stuff into some modular modules...
maybe a filter with more than just the normal inputs: not just cutoff and resonance...maybe with drive and maybe some unconventional new parameters.... like
-filter tuning and and
-dry forwarding in res feedback chain, which is very important for the "musicalitly" of the filter, the linear gain of the filter at various settings(res, cutoff)
-more distored resoance or less, and so on.....,
nothing speaks against parameterizing these things also, so you can tune the filter for a dedicated patch... It makes big differences in final sound..
lets see...
thanks for the feedback. much appreciated
another idea
It might be an idea to use as well as note on and note off, the actual key follow to control the filter.
that way instead of 128 velocity amounts, you could actually raise and lower it an exact octave or other amount from the sequencer just by playing that note. (and you could more easily use portamento as i mentioned before)
all it would need is a button with a 1-1 keyfollow setting.
i know ... "stfu and make your own"
that way instead of 128 velocity amounts, you could actually raise and lower it an exact octave or other amount from the sequencer just by playing that note. (and you could more easily use portamento as i mentioned before)
all it would need is a button with a 1-1 keyfollow setting.
i know ... "stfu and make your own"
no no, not stfu and make your own.
actually i started with the pitch idea. and have implemented it also at first.
but to get a proper resolution you need to adress the full note range.... i mean 1 octave would only be 12 cutoff values...
So i tried doing it with all octaves and then I backchecked the worflow. And in piano roll it was pretty annoying. as you had to scroll up and down to place the notes....
so i decided to use the velocity option..... its much easier to work with in a sequencer... as you simply place your rythm via notes and then "draw the cutoff via velocity".
I think its the better solution...
another option would be using the pitch wheel with its higher 16bit resolution for 65000 values... instead of the 256 8bit values... but that really makes no big difference....
the audible steps through cutoff (cc) on some creamware synth design are not due to the 8bit resolution of cc event , but due to the handling of async info (imo)
lets say you have infinite resolution in the amplitude.... but the timedomain is only updated every 50th sample.... you get discrete steps again.
The big difference between async and sync is the update quantization in time domain...
actually i started with the pitch idea. and have implemented it also at first.
but to get a proper resolution you need to adress the full note range.... i mean 1 octave would only be 12 cutoff values...
So i tried doing it with all octaves and then I backchecked the worflow. And in piano roll it was pretty annoying. as you had to scroll up and down to place the notes....
so i decided to use the velocity option..... its much easier to work with in a sequencer... as you simply place your rythm via notes and then "draw the cutoff via velocity".
I think its the better solution...
another option would be using the pitch wheel with its higher 16bit resolution for 65000 values... instead of the 256 8bit values... but that really makes no big difference....
the audible steps through cutoff (cc) on some creamware synth design are not due to the 8bit resolution of cc event , but due to the handling of async info (imo)
lets say you have infinite resolution in the amplitude.... but the timedomain is only updated every 50th sample.... you get discrete steps again.
The big difference between async and sync is the update quantization in time domain...
