Druma crash/ride single voice.
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For certain it’s a challenge, but:
- Harmonically there’s no limitation because arpeggios function the same as block chords. Any harmonic progression can be realized this way with four voices, or even one.
- The Well-Tempered Clavier is never more than 4 voices; often it’s just 2. And Bach’s Chaconne for solo violin encompasses 4 voice harmonies, all by subtle melodic construction from a basically single voice instrument.
- Take any melody sequence, apply p.locks such that every other note switches to a different patch. You now hear 3 melodies: the original, that highlighted by the first patch, and then offset, the melody made by the second patch. Do this for each track and you have a 12-part composition from 4 voices.
- Jazz gives some hints: the pianist often played only the chords’ inner voices, leaving out the root and the highest, most defining interval. Those tones would be taken up by the bass and lead instruments, respectively. The chord is not played by any one instrument, it’s a composite. So with four voices from each track playing one note of the chord, you get four part harmonies from separate, monophonic instruments.
- Long delay times can be used to make a two-part canon, which makes it possible to lay down a full harmonic progression from one voice.
- If you really want a massive droning wall of sound, sell the A4
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I like this one.
But there is paraphony !
I succedeed to make 8 different notes, modifying osc 2 pitch with a midi processor…
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Then don’t use this marvelous box for anything but hihats unless you just want to use noise.
Cymbals aren’t noise ! 
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Actually bought the pack - because of the hihats 
- and installed it today This one is particularily interesting, the 5th of OSC1 makes it sound very reminiscent of a 909 hihat …
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Can’t believe it is almost 9 years since I created those, time flies, I had hair then
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It would be interesting to have an audio reference. Several mallet hits ? Do you want to mimick them ?
I think of it as a rising volume and harmonics (rising filter), with a softer attack…
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something like what the drummer is doing here. i tried to link it at the hit i think mostly gets the point across, but generally this kind of technique.
thanks
Isn’t this a better example ?
yes, this is a perfect example.
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Has anyone tried this on the A4 to create a clap sound?
can you upload thre sysex for the sound?
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Maybe. Will have to see whether I find it.
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Here you go with the sound from above. C001 PC CLAP 01.afsnd (653 Bytes)
Also just found another two where I chose a different approach.
At least one of these will be part of a mini-soundpack series I’m planning at the moment.
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Both sound quiet usable ! I like the first one a little more, as i prefer shorter claps, i thought about combining the modular approach with the tuned resonance filter, but that would mb require a neighbor track, or 2nd layer, which is unfortunate, because a single layer is much more useful with 4 sequencer lanes. (Allthough i got 2x A4, i want to do kick bass, clap /hat on one of them , the second A4 for melodic stuff.)
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The second one is just showing off how far the ratcheting can go. I wouldn’t find it useful musically, too.
The idea behind all examples was basically to resemble classic analog claps from DR-110/TR-606/… which all share a very similar circuit. LFOs and envelopes are doing most of the work easily once you wrap your head around this.
Those claps are amazing, but certainly not cymbals or metallic percussion!
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