Video Tutorial: Noise And Synthesis In Audiomulch, Pt 3
We're getting somewhere in this part 3 of a 4-part tutorial video series on Audiomulch, the hidden weapon in any well-stocked Windows audio weapons locker. Having established tonality and pitch, we move along to the specifics of filtering with the 5Combs comb-filtering contraption. We work with gain and decay sliders to sculpt the noise into ever more expressive pad textures. Check out this Gearwire tutorial video.
ROB WARMOWSKI: Okay. Now here is the third part of our synthesis workshop for Audiomulch. Right now, we've got the Test Generating contraption as the source for our synthesis chain here, and we got it running into the Five Combs Comb Filter. Let's bring up the mixer channel and listen to what we've got.
[ROB PLAYS AUDIOMULCH PROJECT]
You can play with the delay time -- excuse me, the decay time, which will tend to accentuate -- if we increase the decay of the information that is corresponds to a 127 Hz on the frequency spectrum, increasing that decay will end up making the output signal heavier in this range of the frequency spectrum. Gain also does something similar in that it accentuates the specific frequencies that the comb filter stages call out here by actually adjusting the output of the filter stage itself, so a high decay time with a low gain, ends up with a longer or a more contiguous or continuous elements of the sound being at 127 Hz here but reduced gain means that we can't hear quite as much.
So, using these two groups of faders we can shape and contour our noise into something resembling different noise [ROB CONTINUES PLAYING SEQUENCE], and one of the things about the five comb filter is that we have the absolute ability to express these numbers here in musical terms. By double-clicking onto this box, we can actually come up with an actual virtual piano here and select a note, and in that way, perhaps build cords out of noise and let's actually do this right now.
We're going to just pick a C and a E. Ah! Right about here, we're going to grab a G. Now, reduce the gain on the other two, and what we're hearing is -- remember, we started with noise but we've developed a chord. We got a C major chord coming out of this noise. To play with decay times, we can accentuate the chord to favor a particular note in it. And of course, if we equalize the gains, it becomes less and less noisy as time goes on.
[ROB CONTINUES TO PLAY WITH AUDIOMULCH PROJECT]
We'll continue to shape this a little bit. We can also create an extended C chord. We could pick a higher octave and bring up his game. This is also a very neat way to do portal transitions all within one contraption, the very simple synthesis chain here. You could even add another. We'll make it a third. That's pretty.
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