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VSTI FREEdrich by K Brown
FREEdrich by K Brown

[Image: xKFfLBt.png]

Inspired by the various permuta3ons of Friedrich Trautwine's 'Trautonium', it
takes most of it's form from the current-manufacture unit by Trautoniks, the
Trautonium VT. This strays from strict emula3on, by adding to the oscillator two
Sub Harmonics, in a fashion similar to the Moog Subharmonicon. Also added a
feature used in later models of Trautonium, the op3on of shaping the output VCA
with a simple A/D envelope (here with op3onal Sustain), rather than directly with
keyboard touch. As with the hardware, the Envelope can be used in 'LFO' mode
by means of the 'Rpt' (Repeat) switch.
All Trautoniums were played by pressing a wire down onto a metal strip; the
posi3on along this strip determining the pitch of the note. The strip would move
down with player-applied pressure, to control the volume of the note. The
instruments were monophonic. Later models had two such wire and strip
'manuals'; each connected to it's own sound generator. The touch control of the
Trautonium without using the Slider, is here roughly approximated by a
combina3on of Velocity and APertouch; a control mixes the two in varying
amounts to suit player and par3cular keyboard. Therefore the best approxima3on
of Trautonium play is with a keyboard that generates both APertouch and Velocity.
The Velo/APer mixer can switch to other MIDI controllers, for alterna3ve ways of
controlling Dynamics. At the far right, sensi3vity curves for A-Touch and Velocity
can be chosen.
Trautoniums were the first widely-produced subtrac3ve synthesizers,
debu3ng in Germany in the early '30s. Though they produced only sawtooth
waveforms, here the switching to Square, used in the Moog Subharmonicon is
implemented. The shape of the sawtooth can toggle between 'Vintage' (a
humped Ramp wave similar in shape to the original Trautonium's neon lamp
relaxa3on circuit) and 'Modern' (a 'perfect' sawtooth shape). The 'Vintage' saw
will produce audible harmonic distor3on at higher pitches.

Oscillator can generate two Sub Harmonic frequencies that are mixed with
the original pitch. These are divisions of the base pitch, not upper harmonics - so
a Sub Harmonic of 2 is the base pitch divided by two, or an octave lower - and so
on. Each has it's own Level control, as well as an output volume for the mix.
Oscillator main pitch can switch between 'Semitone' (stepped), and
'Frequency' (un-stepped). The 'Aux' control sets the amount of detune of an
auxiliary oscillator that's a duplicate of the master osc waveform and frequency.
This is turned On/Off by it's associated switch in the Levels sec3on. The Oscillator
'Pre Filter' is a fixed, single-pole Low Pass.
The '6 kHz/640 Hz' switches in the Formant Filters determine the upper limit
of the cutoff Frequencies.

The Filters' Noise inputs can switch from white to 'Pink' or 'Purple' by clicking
on their knobs' labels.
Vibrato can be Wheel-controlled, Off or On.
Master Volume can be controlled by MIDI footpedal CC 4 or CC 11. With no
pedal connected, either switch posi3on will result in no output. In leu of a
footpedal can also be controlled by Pitch Wheel or Mod Wheel. Selec3ng PWheel puts the synth in quasi Ondes Mar3not mode where the ar3cula3on of the
notes is en3rely controlled by pushing the P-Whl down (or up, as player prefers),
simula3ng the Ondes' leP hand 'Intensity' key, and ver3cal movement of the slider
tab controls vibrato only.
The three Portamento op3ons are: 'EFT', Exponen3al Fixed Time; 'EFR',
Exponen3al Fixed Rate; and 'LFT', Linear Fixed Time. Porta can be On, Off, or
controlled by MIDI Footswitch, CC 65.

Output Source selec3ons are: direct from Oscillator (bypassing the Formant
filters), Filter 1 only, Filter 2 only, or Filter 1 in parallel
with Filter 2.
'Dynamics' (VCA control) can select a cross fade of any two 'manual'
controllers, or the velocity-controlled A/D envelope. To approximate some of the
Trautonium manual's affect on volume, Velocity also controls the Env Aaack 3me;
slow key presses produce the Aaack 3me set by the panel knob; faster ones
decrease the Aaack 3me, to imitate volume slowly increasing as the metal plate
was pressed down. Dynamics selec3on can also control the Formant Filters'
frequencies individually.
'Filter Balance' allows crossfade between the Formant Filters' outputs by the
selected source.
In the 'Controllers' sec3on, selected controllers can affect Pitch, and the
Formant Filters' frequencies individually.
The Slider is the ingenious work of Rex ('Spogg') Basterfield, developed for his
far more complex and powerful Trautonium emulator, called 'Trout'. This version
is a bit simplified, as it has fewer 'alternate' modes, and s3cks to those most
closely approxima3ng the Trautonium's wire and conduc3ve strip 'manual'. In
addi3on, several tabs could be slid along just above the wire, and locked into
place wherever the player wished to able to reliably hit specific notes.
In this 'virtual' simula3on, a dark rectangle shows where along the wire the
note will be sounded, and follows the cursor as it's dragged back and forth along
the strip. Click anywhere along the strip, and the tab will jump to that spot and
sound the appropriate pitch. Ver3cal mouse movements control volume; moving
the mouse downward increases volume, as though one were pressing down on
the metal strip. If this seems too 'alien', the op3on is provided to have vol
increase as mouse is moved Up. This ver3cal movement can also control Vibrato
amount by selec3ng 'Slider' in the Vibrato dropdown.
The Slew control produces a lag in the pitch change, to eliminate zippering, or
dampen small 'wiggles' of the tab. Cntrl/Click to set to Default value, that seems
to work best for most types of play.

The Play switch and Note controls determine what the 'Root' note of the
Slider will be; 'Play' has to be off to set the Note, then back on to play the Slider.
To switch over to Slider control, switch the Slider on, select a Root Note with
the Note control, select an octave range, and flip the switch to 'Play'. If the Slider
doesn't respond, switch 'Play' off, then back on again.
When the Slider is on, the controls in the Dynamics sec3on have no effect.
The lamp in the center of the VU meter will flash red to indicate clipping.
The readout for the Delay is in milliseconds. The 'Play Over' switch allows
playing new notes that will not be repeated by the Feedback; for use with high
amounts of feedback and long delay 3mes, Frippertronics-style.
The beau3ful VU meter is by DF Designs.



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