Sound Generation
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Listen to Oscillator A (the exciter) and the Comb Filter (the resonator) separately by
changing the Output Mixer settings. The oscillator is currently producing a steady
noise with a very broad frequency range. The Comb Filter “picks” its resonant fre-
quencies and boosts them. Hence, the frequency ratio between exciter and resona-
tor is crucial to the resulting sound. Parameters like the exciter’s volume envelope
settings and all Comb Filter parameters also shape the sound and interact with
each other. That way, the C15’s physical-modelling features will provide you with a
vast field for timbral exploration.
Using Feedback Paths
As you already know (at least we are confident you do), the C15’s signal path
provides various ways of feeding back signals which means that certain amounts
of signals can be tapped at a specific point in the signal flow and reinserted at an
earlier stage. We will now explore how to create sounds by using these feedback
structures.
First, please reload the well known Init sound. If necessary, please find a detailed
description on page 10.
Second, dial in a typical Comb Filter sound with the character of a plucked string.
This will require
• the Comb Filter being mixed to the output (Comb (Output Mixer) around 50 %)
• a short exciter signal, resp. a very fast decaying oscillator sound (Envelope A:
Decay 1 around 1 ms, Decay 2 around 5 ms) with plenty of overtones (high value
for PM Self). It provides the “plucked” signal part which stimulates the comb filter.
• a comb filter setting with medium Decay time (around 1200 ms) and Hi Cut
setting (e.g. 120.00 st). Set the Decay Gate to approx. 40.0 %.
If necessary, tailor the parameters a bit to your liking until the C15 sounds some-
what like a harpsichord. Now we are ready to proceed.
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