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music-society specialpack Broken Gadget

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Dr Benway VST Effect

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This effect is primarily designed for drums. It works similarly to Vellocet's Reorder plug-in, that is to say it takes audio and then shuffles it about. Dr Benway acheives the audio shuffling automatically, synced to your host's master tempo. In practice any material you feed the good doctor will come back cut up and rearranged. Dr Benway is a good way of adding variety to rhythms.
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CONTROLS

Slice Size
This sets the rate at which Dr Benway jumps from one point to another, set in divisions per bar.

Randomness
This adjusts the likelyhood of Dr Benway jumping to a different point, at the rate set above.

Skippy
At higher settings this will introduce little rhythm offsets, best described as Skippiness. Try it and see.

Lo-Fi
This interpolates between samples. Use it subtly to mask glitches, or full on for a Lo-Fi effect.

INSTALLATION
Unzip Dr Benway.dat and DR Benway.dll to your VST folder.

BUGS
The unit does not respond too well to rapid tempo changes.
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Dr Liebezeit VST Drum Machine

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Dr Liebezeit is a drum machine designed for Audio Mulch (although it should also work in other Windows compatable VST hosts).
It was primarily designed in order to cater for non 4/4 time signatures. With this in mind, a user can specify the number of steps in a pattern, and Dr Liebezeit will adjust its synchronisation to the host tempo accordingly.
The user can load in .wav samples which can be triggered off rhythmically, and processed using the in built effects. In order to keep the interface managable and CPU consumption down, only two voices can be loaded into each instance of Dr Liebezeit, so if more are required then you'll need to load up multiple instances of Dr Liebezeit. (This has the advantage of allowing for polyrhythms and more flexible signal routing.)

DESCRIPTION OF CONTROLS

MASTER CONTROLS

RUN/STOP either starts the machine running, or vice-versa. Note that the machine should not run unless the transport control of the host is on.

RESET - sets the play position back to the first step. To sychronise two instances of Dr Liebzeit, stop both machines (prefrably using the host's master transport control), and then press RESET on each instance of the drum machine. When you press play on the host's master transport, the multiple instances of Dr Liebezeit will be in sync with each other.

LENGTH - the length of the pattern in steps.

TEMPO - this provides for whole number multiples of the host tempo. In practice this alters the number of steps per bar (this is shown on the neighbouring display to the tempo slider).

The above controls affect the tempo, synchronisation and resolution of the drum machine. A number of audio effects are also included in Dr Liebzeit. The order of the effects is fixed as Ring Mod, Distortion and Filter.

RING MOD, PITCH control is used to adjust the pitch of the modulator. A range of clangerous, enharmonic effects can be acheived.

DISTORTION, CHARACTER control alters the timbre of the distortion effect.

FILTER, CUTOFF and RESONANCE controls are used to adjust the response of the Low pass filter.

VOICE SECTION

32 toggle switches are included in each voice section. These are used for step programming rhythmic sequences.

User specified .wavs can be loaded via the file menu interface.

VOLUME - adjusts the volume of the individual voice.

PITCH SHIFT - adjusts the playback speed of the .wav sample.

The RING MOD, DISTORTION and FILTER controls are used to adjust the send levels to the respective effects.

INSTALLATION

Unzip Dr_Liebezeit. dll and Dr_Liebezeit. dat to your VST folder. I suggest that you also keep this file, Dr Liebezeit.txt there for reference.

BUGS

No known bugs.
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Integrated Doobee VST sequencer and synthesiser

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INTRODUCTION

Integrated Doobee combines sequencing abilities with a monophonic synthesiser. It will synchronise to the host tempo, and is novel in it's approach to sequencing, providing seperate sequencers for note position and also pitch sequencing. In practice this means that it is possible to acheive well specified analogue style sequencing and also a range of evolving 'systems music' melodic sequences. Whilst the above description may sound complicated, in practice Integrated Doobee is intuitive and easy to use, and is suitable for real-time performance and improvisation.

Integrated Doobee was designed with Ross Bencina's excellent Audio Mulch in mind. Whilst Mulch offers superlative processing abilities it is somewhat limited in sequencing abilities. Integrated Doobee aims to address this issue. Integrated Doobee has been shown to run in Orion.

CONTROLS

TRIGGER SEQUENCER

This section forms a step sequencer in the style of Roland's TR series drum machines. The user can enter up to 32 triggers via toggle switches. These triggers can be played forward or backwards, and also the user can specify at what postion the trigger sequencer starts from, and ends at.

The sequencer synchronises to the host's tempo. The tempo slider is for selecting multiples of the host tempo, so that the sequencer can run at a range of divisions per bar. The current settings for the tempo slider are shown in the display to the left of the slider.

Run/Stop - starts and stops Integrated Doobee.

Reset - sets both the trigger sequencer and the pitch sequencer to play from the first position in the sequence.

PITCH SEQUENCER

This section is used to program up to 12 pitches. Each time a trigger is played (by the Trigger sequencer) the pitch sequencer steps forward to the next pitch in the sequence.

Length - the user can select between 2 and 12 pitches. At the end of the specified number of pitches, the pitch sequencer will loop back to the first pitch. Note, to acheive conventional sequencing set the number of triggers to be the same as number of pitches. Melodic rolling sequences can be acheived with ease when the number of triggers is not the same as the number of pitches.

Pitch Range - This scales the 'throw range' of the pitch sequencer's sliders. At larger settings the pitch sequencer may output a range of pitches spanning several octaves, at lower settings a smaller range of pitches may be generated.

SYNTHESISER

This section is a conventional Phase Modulated monophonic synthesiser. In practice the synthesiser resembles an analogue synthesiser in terms of programming interface and timbral character.

PITCH TWEAK

Pitch Quantise - This selects the way in which the output of the pitch sequencer is confined to a range of pitches.

Transpose - use this to transpose the melodic sequence up or down.

Portamento - at higher settings there will be an audible glide from one pitch to another between notes.

INSTALLATION

Unzip Inte_Doobee.dat, Inte_Doobee.dll, and Inte_Doobee.txt to your VST Instruments folder.

Known Bugs. There are no known bugs at the time of writing. Integrated Doobee has been tested in Audio Mulch and Orion.
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Malty VST Effect

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The Malty VST effect is an emulated analogue implementation of a delay line granulator with built in multimode filter. Got that clear? Good, then you won't need to read any further. Malty has been put together primarily for use with Orion, which at the time of writing lacks any native granular effects, however it also works well in Audio Mulch, offering an attractive alernative to Mulch's sophisticated granular contraptions.
The concept behind Malty is that the sound is passed to four delay lines arranged in parrallel. The output of these delay lines is tapped into at random; the time between sucessive tappings is referred to as the grain size. It is possible to alter the grain size,and also set the delay times. It is also possible to feed back audio from the granular stage, back to the delay units (cross feed). The granular stage is followed by a filtering, auto pan and gain stage.
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CONTROLS

Granular Delay Section

Pre Gain
- Adjusts the input level

Grain Size
- Adjust the length of the audio grains (i.e. the time between successive tappings of the delay lines).

Master Delay
- A coarse setting for the overall delay time. There are, in fact four delay lines inside Malty, each set to a different time, such that the delay time is halved from one delay line to the next. This is likely to be a musically useful arrangement.

Delay Fine
- Make fine adjustments to the delay time from here.

Cross Feed
- It is easier to try this setting out than explain. Suffice to say, the cross feed setting adjusts the extent to which the granulatred audio is fed back into the delay lines.

Feedback
- This sets the extent to which audio is fed back to each delay line, as in a regular delay line unit.

Filter - Output Stage

The output from the granulator is filtered. You can choose between, low pass, band pass, band reject, and hi pass filtering.

Cutoff
- Adjust the cutoff of the filter here.

Resonance
- Emphasises the frequencies around the cutoff point.

Smoothing
- Select 'on' for smooth cross fades between grains, 'off' for sharper transitions.


Auto Pan
- The output is panned randomly around the stereo field at high settings, cenrtrally at a zero setting.

Post Gain
- Adjusts the overall output level.
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Chime Machine VST Effect

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This effect was constructed using Synth Edit. The effect started life as a spatial enhancer, and then mutated into the comb filtered chimera you have before you now. Chime Machine is a series of four offset delay units (2 on the left channel, and 2 on the right) which can be induced to behave as comb filters. It is possible to adjust the parameters of the delay units. In addition to this, the dry signal is automatically routed from one delay/filter to another - this lends variety to the overall effect, and introduces movement around the stereo field.
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CONTROLS

FILTER SECTION

Input
- Adjusts the input level

Tune
- Tunes the comb filters.

Filter Bias
- The dry signal is sucessively routed from one filter to another. The Filter Bias control adjusts which filters the sound is routed to. In effect this control helps further tune the effected sound.

Feedback
- Use this to alter the feedback settings for the delay/filter units. Higher settings will induce comb filtering.

AUTOMATIC FILTER ROUTING SECTION

As described above, the dry signal is sucessively routed from one filter unit to another. The Automatic Filter Routing controls facilitate adjusting the aurtomatic routing.

Clock Waveform
- Set the shape of the wavefrom clocking the automatic routing from here.

Mod Rate
- Adjusts the rate at which the dry signal is routed from one delay/filter unit to another.
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INSTALLATION

Unzip the whole lot to your Vst folder. You will need both the tardis.dll file and also the tardis.dat file.
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Neptune VST Sequencer Synth

[Image: 0tKUXZ1.gif]

OVERVIEW
This synth was constructed using Synth Edit. The synth combines a phase distortion oscillator, a state variable filter and an analogue style sequencer, with flexible routing to acheive unusual modulation effects.
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CONTROLS

Oscillator Section

Wave 1 - Select the shape of the primary waveform from here.

Wave 2 - If required you can add a second waveform, of your chosen shape from here.

Attack - Adjusts the rise time of the amplitude envelope.

Decay - Adjusts the fall time of the amplitude envelope.

Sustain - Adjusts the sustain level of the amplitude envelope.

Release - Adjusts the time for the envelope to fall to zero after a note is released.

Filter Section

Filter Type - The filter is a 12dB/Octave style filter. You can choose which mode to use i.e. low pass, hi pass, band pass and band reject.

Attack - Adjusts the rise time of the filter envelope.

Decay - Adjust the time for the filter envelpoe to fall to the sustain level.

Sustain - Adjusts the level at which the fileter envelope sustains. Adjust this to sweep the filter range.

Release - Adjusts the time taken for the filter envelope to fall to zero after a note off message.

Resonance - Adjusts the resonance, or Q of the filter i.e. adjusts the extent to which the frequencies around the cutoff point are emphasised.

Sequencer Section

The sequences created in this section can be routed to pretty much anywhere inside Neptune, thus allowing for complex rhythmical timbres, or even melodies.

Clock Trigger - The sequencer is driven by a waveform clock signal. For most purposes the square wave signal will provide a regular clock signal. Less regular triggering of the sequencer is provided by the other waveforms.

Clock Speed - Adjusts the speed at which the sequencer cycles through its sequence. Lower settings produce audible discrete steps. Higher settings lead to cross modulated and ring modulated effects.

Knobs 1 to 8 - These adjust the level of each sequence step.

Modulation Routing Section

The sequence created in the sequencer section can be routed to two destinations from here.

Sequencer Routing 1 - The first modulation destination is selected from here. Choose from; phase mod, (amplitude) gain, pitch, cutoff, resonance and pan.

Mod 1 Gain - This scales the depth of modulation from the sequencer. The sequencer values can be both postively and negatively scaled from here, the latter primarily for use with the pan and pitch destinations.

Sequencer Routing 2 - as for Sequencer Routing 1.

Mod 2 Gain - Scales the modulation from the sequencer to the second destination. The range is from 0 to 10, i.e. negative scaling is not possible from here (use Routing 1 for this).
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Percolator Percussion Synth/Processor

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This synth was constructed using Synth Edit. It is designed to emulate a little known percussion synth, made by Boss in the 1980's. In essence Percolator extracts the rhythmic qualities from an audio input signal (a drum pattern is best), and then synthesises a range of highly artificial percussion textures.
Percolator's stucture departs from that of a regular analogue synth - it doesn't have a filter for a start, resembling a primitive two operator FM synth with an LFO and a few twists thrown in.
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CONTROLS

Oscillator Section

Sensitivity - This determines the extent to which the amplitude of the primary oscillator is modulated by the input signal.

Attack - Adjusts the rise time of the amplitude modulation envelope follower.

Decay - Adjusts the fall time of the amplitude modulation envelope follower.

Pitch - The fundamental pitch of the primary oscillator.

Waveform - Select the shape of the primary waveform from here.

LFO Section

LFO rate - The rate at which the LFO modulates the frequency of the primary oscillator.

LFO depth - The extent to which the LFO modulates the primary oscillator.

LFO waveform - Choose the shape of the LFO waveform from here.

Pitch Envelope Section

This section is used to impose a pitch contour onto the primary oscillator. The pitch contour is based around a traditional Attack, Sustain and Decay envelope, but differs somewhat as the envelope is gated directly from the audio input, as opposed to a control voltage as in more regular synthesiser designs.

Env Depth - This determines the depth of the pitch modulation. Both positive and negative envelopes are catered for.

Attack - Adjusts the speed at which the pitch envelope responds to the audio input.

Sustain - Similar to regular sustain, but in fact adjusts the length of a gate signal, derived from the audio input.

Release - Adjusts the speed with which the pitch envelope returns to zero.


Output level - Why don't all plug-in's have these?
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