Yah the 10/8 time signature gives it away for sure! My original contributions in regard to that patch are A1(which originally had 4 parts instead of two) and A12 which is tweak and way slowed down. The Patch that is the basis of A12 is very nice itself droning on and can be found at B95 (was one of the sound demos).----- Original Message -----From: jpyn8Sent: Thursday, November 07, 2002 9:44 PMSubject: [Evolver] Re: Wow! - missing oscillators
I've noticed that, for instance, Patch A1 shows up in many other
places throughout the presets - all with changes made to it, like
slowing down the sequencer tempo a lot, or adding feedback, tweaking
other parameters, etc.
It could be that your original version was editied many times. I had
no experience with the Beta units though...so if there is a
difference in the synthesis archetecture, we'd all like to know what
changes were made and why, just out of curiosity.
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The major difference with the patches is that
on the beta version the pwm was off or weird and has since been
fixed.
In patch A1 all you have to do to get some action
out of OSC1 is to turn the OSC1 PW down from 99 to something in the middle. Now
you can hear it! The other "silent" osc is OSC4 but is more of a sub
sound and it also adds some low level blips and pops. So there you
have it, just tweak OSC1 PW down a little. Remember that PW values of zero and
ninety-nine will give you NO SOUND.
;
Another patch tweak to make original B11 is my "Doc
Severinson" patch. The aftertouch is supposed to glide on osc up to an octave.
In the beta, an octave was represented as 19, but now it is 24, so if you want
to make the patch as planned, change Pressure Amt to 24.
BTW a undocumented (so far) hint: The Evolver
is "VERY TWEAKED" in regard to modulation amounts: Therefore for destinations of
PITCH, each value equals a half a semitone, hence if pressure (as one example)
is set to pitch as a destination, then 24 will give you an octave at full
range, set to 48 for 2 octaves, set to 14 for a fifth, set to 12 for a fouth,
etc, etc. This also works for sources like LFO and ENVELOPES. So you can use the
numbers to created tuned modulations, etc.
I will say that I did ask Dave for this level of
control and he was good enough to implement it with such precision. My
next request for is that such numbers not only map properly to pitch, but that
they do so using just temperament. This way if you have pressure or a
square lfo mapped to pitch and set to 8, intead of a third with crappy equal
temperament beats, you will get a pure 3rd. Even though just temperament is
only good for certain keys, in relation to whatever is the root, having the
source values for pitch destinations be mapped just rather than equal will
always sound better. I hope that makes into the next o.s. Sure it is esoteric,
but that is what the evolver is all about I think.
Ravi