One of the challenges with the comb filter is that when you decrease the LP it can make the pitch sound flat, so you might need to increase TUNE to compensate. And that relationship depends on the PTCH setting. Totally doable by ear, but it can make sequencing it quickly a bit of a chore.
I’m not sure if this makes it any less of a chore … but it will make things repeatable.
This is a work in progress. Basically, I tuned several octaves of C notes with different combinations of LP and TUNE. Ran some regressions to figure out the relationship and filled out the table. I’m sure things can be improved, so if you try things out and it isn’t quite right, let me know.
Tough one yes. What I usually do it simply assign LP and TUNE to crossfader to compensate roughly by ear. Can’t be perfect on the whole range, more detune on higher notes afaik.
That’s exactly the issue I was trying to better understand. I’d done the crossfader mapping thing and noticed that it worked differently across different notes.
The fundamenal issue is that the filtering adds delay to the comb filter, but that additional delay has dramatically different impacts based on the delay time. Low pitches are from longer delay times, so they are less impacted by the LP’s delay. When you get to short delays (high pitches of the comb filter) the LP delay really starts to impact the tuning.
Yes, but Comb filter frequency have decimals for fine tune. NRPN possibility I guess.
Whole values are semitones. 60 is C…5 ? C4 for OT.
And there is keytracking for these filters.
Best is Digitone 2, 16 voices polyphony.
Digitakt is monophonic, with filter keytraking.
No keytracking for Tonverk, only FX insert, like OT.
Yes. Of course shorter with higher tempo. But in a feedback loop with 100% wet delay without delay fx feedback, tuning is different…
I also noticed delay X parameter lowered tuning…
@Bryan_T@sezare56 Just want you both to know that I thoroughly enjoy these in-depth OT explorations. I can’t say I’m keeping up with every detail but it sure is fascinating. Keep up the awesome work! You’re gonna get this thing to fly to the moon eventually.
I second that as well.
These are hands down my favorite threads on the forum currently, despite my not fully grokking all the info. It’s fascinating, thank you.
Thanks! I’m genuinely getting a lot out of doing them.
When I first got the OT last year I asked if anyone had mapped out the parameters. Some had been, but not all. Most folks just dial it in by ear and make great sounds. Totally valid, proof is in the pudding.
But there were a handful of things that I wanted the OT to do that needed a deep dive to figure out what was going on under the hood. “Clickless” sound-on-sound looping, tuning the ring mod, getting a subtle vibrato, … Then there were things that I wanted to make better use of (EQ, filter, phaser, …) where having some sense of the parameters and functions helps me a lot. Sometimes the range of the knobs is weird and sometimes a knob doesn’t do anything. Those are useful things to know. Building the intuition is the goal so I can work fast to get what I want out of it.
Ultimately it is about making music and I think this is helping me get new and inspiring sounds out of OT.
That’s Leaf Audio Microphonic Sounbox - essentially a wooden box with contact microphones and some stuff on top, basically a noise source. It is routed to OT and processed with its comb filter with really high feedback, so only amplitude envelope persists from the source, the tone comes from the comb filter. Then it is sent to a lot of delay and reverb. I control the comb filter pitch with my synth keyboard via the Hapax note to CC effect. The vibrato is the OT’s LFO on comb filter’s Tune which I switch on/off with a footswitch (also via the Hapax routing).
So in a way it is a DIY “Karplus-Strong” synthesis where the OT comb filter acts as a resonator.
