NONLINEAR LABS C15 - 5. The Synthesis Engine

Sound Generation
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produce. Sweeping the S.V. Filter Cuto will generate a pattern of over-
tones. Please keep in mind that all you are hearing is the output signal of
the Comb Filter – the S.V. Filter is just part of the feedback path (between
Comb Filter and Feedback Mixer) and provides a selective feedback sig-
nal. Oscillator A excites the Comb Filter and is not audible as such either.
… by using the eects output as feedback signal:
Another interesting way to shape comb filter / physical modeling sounds of the C15
is using the feedback path of the eects section.
First, disable the S.V. Filter in the feedback path of the Comb Filter (of course, the
Feedback Mixer provides several feedback paths in parallel but, for the time being,
we want to keep things simple):
▶
Press S.V. Filter (Feedback Mixer).
▶
Turn the Encoder to [ 0.0 % ].
Feeding back signals from the Eects section to the Comb Filter:
▶
Press Eects (Feedback Mixer).
▶
Turn the Encoder slowly up and dial in a value that generates a mild feed-
back sound. Values around [ 50.0 % ] should work fine.
▶
Press the Mix parameter of every eect and dial in a high mix value.
ߊ Now you are hearing the feedback signal of the eects chain exciting the
comb filter. While doing so, you will (hopefully) be surprised by some
staggering soundscapes. Each of the eects individually provides a dif-
ferent treatment of the feedback signal and thus contributes a dierent
result to the audible sound. Cabinet may be used to alter the harmonic
content while the Gap Filter (which is a band reject filter that cuts out a
certain frequency range) is useful to control the frequency response of
the feedback signal. Flanger, Echo, and Reverb generally add dierent
spatial components and motion to the sound. Please note that the
amount of reverb in the feedback path can be adjusted separately by the
Rev Mix parameter of the Feedback Mixer.