Sub-Audio Downloads - for Extra LFOs and Extra Slow Modulation
Sometimes you need an extra LFO in Thor. And sometimes you need an extra-long, extra-slow LFO. Even one with a period measured in minutes, not seconds. An LFslOw. A sLowFO.
With Thor's ability to use audio as a modulator, you can make your own LFOs - audio waves with frequencies much lower than the audible range, loaded probably into an NN19, looped, triggered and fed into one of Thor's four audio-in sockets.
So, here is Kronsteen's LFSlow collection. 466 slow waveforms, including the standard sine, saw, triangle and ramps, plus inverse and power-raised sines, harmonic variations of all these, plus 50 random waves.
Total download size: 10.6MB
Each wave has a period of one minute, or a frequency of 0.0166 Hz - about as slow as Thor's LFOs can go. But by pitching down in NN19, their cycles can go to song length if you want. Of course they can be pitched up for higher speeds too, to be used as more conventional LFOs.
LFOs don't need the same bitdepth and resolution as audio. These are 8-bit, giving 256 levels to map onto Reason/Record's 128. They have a sampling rate of 256Hz - so even if you pitch down four octaves, you still get 16 levels per second, which should be enough.
Which means each minute-long sample is...16KB. So it shouldn't overburden your CPU too much.
These are the wave types:
- Inverse Sine
- Sine raised to powers (^2, ^4, ^8, ^16)
- Sine raised to fractional powers (^1/2, ^1,4, ^1/8, ^1/16)
- Ramps at 12.5%, 25% and 37.5%
- Random (white noise at 1Hz, interpolated)
All waves except the random come in 16 variants - one with just the fundamental frequency, plus 15 with all permutations of presence or absence of the next four harmonic partials.
Rather than try to describe all of these, each WAV has a corresponding GIF, showing the waveform. Browse through the GIFs, and you'll see what the waves look like, and which ones might be useful to you.
Unfortunately there is of course no simple way to tempo-sync these waves, but if you want extremely slow evolving pads, or subtle analog-like pitch drift, or just an extra LFO occasionally, they should be useful to keep around.
Thanks to James Bernard for inspiring this little project.
nice job on this kronsteen.
i have a observation/question related to the resolution of the files.
perhaps one of the props could chime in here?
the rpg8 free rate and pitch bend (probably some others i have missed) all have a much finer resolution than the standard 128.
my tests appear to confirm that these finer values are accessible via modulation sources. and therefore not all cv's are limited to 128.
to test this i put a rendered sinewave (44.1 24 bit i think) back into a thor to control the free rate on a rpg8. an example file can be downloaded here - http://www.mutated.biz/sites/default/files/cv fine resolution.zip
btw - if you double click on the audio track to enter comp view 2 distinct waveforms are visible. One being the original sine wave, and the other being the result of timestretching this sine wave, there is some really interesting changes happening with raw waveforms being timestretched.
* 2 things. activate the loop in the transport and trigger a note on the arp
after having a closer look at these i think you have done a sublime job. again - well done and thankyou : D
geat selection of waveforms. how did you do these btw?
rexing them will allow for tempo syncing. that would be pretty sweet. i will do a couple and pop them up if you dont mind kronsteen?
another idea is the use of the neptune in the conversion to cv.
The waves were made in Adobe Audition 1.5. All except the noise waves are from it's 'Tone Generation' function - thankfully its programmers didn't install any code to guard against improbable sampling resolutions or frequencies outside the audio range. I used a mouse/keyboard recorder to record myself making each block of 16 permutations of partials, then changed the waveform and played back the recording for each form.
(While watching bad Star Trek videos on youtube :-))
The noise waves are white noise generated at a sampling frequency of 1Hz - the lowest Audition can go. The result was then interpolated to fill in the gaps to make it 256Hz, without changing the pitch. I switched off any smoothing to give them a slightly jagged shape.
Go right ahead and use/abuse/modify as you wish. That's what they're for.
Can I just say that I am really happy to see that this latest 52 tips has brought back the share and care spirit to the forums?
Let's keep it going!
Great contribution Kron! These will go along nicely with the last pack sent to us by JB, which has all the pre-made and time-stretchable automation algorithms.
linked below is a zip containing the "inverted sine" folder from LFO Slow 1 rendered as automation clips. The process is a bit lenghty so I will leave it at that. there is a record file and a midi file for those who do not have record 1.5. the rendering is fairly accurate.
When working with the sub audio files i prefer to import them to an audio track as I get a visual reference for the modulation, rather than used in a sampler. the other issue with using a sampler is that it must be retriggered from the start whenever required. I think the best way is to then setup a thor as an insert fx and break the audio chain...
I will just add that when timestretching the files the original shapes are retained using the "Timestretch Type Melody" setting.
You say the process is a bit lengthy, but I'm pretty good at setting up automated 'production lines' using mouse recorders, so if it's not 'just' a matter of manually drawing lots of lines, I might be able to convert the other waves.
cv > thor > out as audio > into audio track in ableton > silentway midi to cv vst > to virtual midi port > into midi track in ableton > sent to device back into R&R to be recorded to an automation sequencer track
i placed your wav files across the timeline and pressed record. from memory i did it at 250 bpm so it didn't take that long to render. the time waster was cutting up the individual clips and tidying off the end points in the clips. understandably there is a slight delay in the recorded clips that requires a nudge to the beginning as well. lots of razor blades, rubbers, mouse clicks, etc...
here is a link to some other shapes i have been working on - > http://www.mutated.biz/sites/default/files/automagic lfo waveforms.zip.Contains a Record 1.5 file and a midi file for those without.
with timestretching + cut and paste it is very easy to make some really interesting shapes. i haven't even scratched the surface of what is possible :D
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