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  • #76
    I love Vintage Warmer! It hadn't occurred to me to try that with Rapture, but I'll check it out. What do you think of the distortion options included with Rapture?
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    • #77
      Originally posted by Anderton
      I love Vintage Warmer! It hadn't occurred to me to try that with Rapture, but I'll check it out. What do you think of the distortion options included with Rapture?


      the distortion is good sounding .
      Vintage Warmer probably is not necessary
      with this instrument.
      I just wanted to do an A/B comparision

      I am excited about learning to program this instrument! I have not checked the distortion out with the exception of applying Distortion 2 to some basses
      the effect had a nice smooth quality to it.
      the patch seems to have a nice added texture to the sound rather than having the effect annihilate the original sound of the patch.

      kjaerhaus makes a modulation effect that can add to a sound rather than take it over . I find it hard to discribe , the integrety of the original instruments sound is not compromised while at the same time adding something to it. in the case of the distortion 2 and the bass patches that was my experience.

      yes I am happy.
      Variax , Pod XT Live
      Chandler lap steel

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      • #78
        I spent this week end making new sounds for my Rapture. I had already made up a bunch of wavefiles/tables to use. So off I went. I was surprised at how well it went. The sound engine in Rap does help a lot.

        You can do some major damage to a sound or leave it clean with all it has by way of lfo's, eq's, filters, effects, step sequencers. I was impressed before I started making. Just with the stock sounds. But after diggin deeper. I'm even more impressed. This synth is lookin like a must have for anyone lookig for some sweet sounds. Now mind you it does take some time but the end result is great. Your sound just like you want it. It is do-able thing if you just take the time.

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        • #79
          Yeah yeah whatever...

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          • #80
            Well, I do think he makes some valid points...it DOES take some work to get where you want to go (Group Edit, please!). Also there are often several ways to do the same thing (e.g, Step Sequencer vs. LFO) so you have to know enough about the program to choose the right options.

            I would also encourage people to come up with their own LFO waveforms. In fact, you can start with this one Click on the attachment to see a graphic of the waveform. This is what I send to filter cutoff or amp to get a fast, percussive decay. It's basically a modified sawtooth wave, but I also slowed down the attack a bit to make sure there wouldn't be any clicks.
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            • #81
              ...and here's the file itself. Unzip it, then remember to put it within the "Lfo Waveforms" folder in the Rapture folder.
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              • #82
                Originally posted by Anderton
                Regarding Rapture, I'd say just leave Sinc enabled. There are lots of other ways to get nasty sounds, far nastier than just disabling sinc.


                My guess is that enabling Sinc interpolation will increase the CPU load by some amount, although this might or might not be significant in context.

                - Dan
                Dan Phillips
                Product Manager, Korg R&D

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                • #83
                  a quick note ,

                  now that I have started delving, I am hooked! stop
                  looking for the Allen Ravenstine EML patch inspirations. stop

                  things are going well stop




                  Variax , Pod XT Live
                  Chandler lap steel

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                  • #84
                    I got a private email from DanAtKorg -- he didn't want to hijack the thread -- but I thought his comments were well worth posting, so I got his permission to do so.

                    "Rapture's oscillator puts in an admirable performance here.

                    "Although it's unlikely to occur, I'd love for the MI community to
                    agree on a standard about how to describe aliasing characteristics. With the products that I work on, I'm always careful to say "low aliasing" or, in some cases, "no audible aliasing," instead of "alias free" -- since with all current realtime technologies there is still some amount of aliasing, even if it's inaudible.

                    "Of course, it's the audibility that's the important part for musical
                    purposes - I just haven't wanted to make claims that could be
                    disproved by someone running our products through test equipment!

                    "But then, I've occasionally been challenged about the meaning or value of "low aliasing" -- especially when other products may
                    advertise having none at all, even though this is technically
                    incorrect.

                    "Additionally, even if an oscillator itself has very low aliasing,
                    other elements in the signal path may add their own aliasing;
                    distortion, for instance, will do so, along with other processes that modify amplitude at audio or near-audio rates (wave shaping, ring modulation, limiting, etc.). These effects can be limited by oversampling or other means, but present a separate challenge from the oscillators themselves. So, a no-audible-aliasing oscillator may be different from a no-audible-aliasing product.

                    Regardless of how it's described, aliasing is an important aspect of audio quality in synthesizers, and I'm glad to see it being both a topic of discussion, and an area of focus for talented synth
                    designers such as René."
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                    • #85
                      This is pretty sophisticated - so much so that you really need a "cheat sheet" of the keyboard shortcuts, such as ways to zoom in and out, fit the envelope to the window size, enable velocity or keyboard control over segment time, etc. I reached for the manual constantly in the process of exploring the envelopes, and still need to refer to it from time to time.

                      Basically, we're dealing with a rate/level envelope with a sustain point. Like conventional envelopes, the envelope level or time can track velocity, and this affects all segments. However, there are some interesting additions not found in most envelopes. Click on the attachment to see an unusual envelope.

                      * Each segment can be tied to velocity. For example, hit a key harder, and the desired segments can get shorter or longer, depending how you programmed them. You can also mix and match, so that (for example) an attack time gets longer if you hit a key harder, but one of the decay slopes takes less time.

                      * Similarly, you can tie each segment's time to keyboard position. Note the blue stripes above and below the envelope centerline; this show the extent of the modulation. Orange stripes indicate the extent to which velocity influences the timing.

                      * Portions of the envelope can be looped. If a sustain point is set, it can also serve as a loop end point. The loop start can be any selected node prior to the sustain point. In the screen shot, the orange line toward the bottom shows the part of the envelope that's looping.

                      * Each segment's curve is adjustable from exponential, to linear, to reverse exponential.

                      This is all well and good, although I'm not sure there's not a huge amount of practical value of some of the more esoteric functions, and it takes a fair amount of tweaking to get what you want. Still, I like having more options than fewer options. You can always treat the envelope like a regular envelope if you want.

                      However, there are also some limitations that I would like to see addressed in future updates. Given the "let's be able to sync everything to tempo" attitude that pervades Rapture, I'm surprised that unlike the envelopes in some Native Instruments synths, you can't lock nodes to rhythmic values. This is valuable for two reasons: When programming envelopes, segments can fall in with the rhythm; also, with tempo changes, the envelope changes as well.

                      Lacking this, having a calibrated background to at least "eyeball" the node rhythms would be helpful, but that's not available either.

                      Another limitation is that there's no trigger mode for percussive sounds where you just tap a key, and the envelope immediately goes into the release phase. You can come close by programming a very short hold time before the sustain phase kicks in, but then if your fingers stay on the keys for any length of time, the sound will sustain.

                      Maybe I'm asking for too much to include these functions, but I think that at least the "rhythmic node" option should be in a future update.
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                      • #86
                        The effects aren’t going to put Waves out of business, but what makes them highly useful is that each Element can have its own insert effect, as well as three EQ stages (with Gain, Frequency, and Q controls) that can each have a low shelf, high shelf, or bandpass/bandreject response. Most of the effects are time-based (various delays and reverbs), but there are also two distortion settings, LFO controlled filter, and filter/phaser. Click on the attachment to see the list of available effects.

                        It’s quite something to have one type of delay on one Element, reverb on another, and a different reverb on yet a third. Because the delay effects are tempo-synched, you can have all kinds of animated stereo effects sweeping back and forth. Bottom line: The Insert effects are integrated well into Rapture, and serve as valuable sound design tools.
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                        • #87
                          The Global page has two Global effects that affect all Elements, with the same roster of effects as the Insert FX. There are also three master EQ sections, a Master FX section (again, using the same roster of effects) that affects the final sound, and a Global Step Generator with separate generators for the left and right channels. Click on the attachment to see the Global Page. Note that in this example, the Step Generator creates a panning effect by increasing amplitude in one channel while the other is decreasing.
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                          • #88
                            This was too much fun not to post. Click on the attachment to hear a tribal percussion sequence. It has three Elements; two are Minimoog triangle waves with step-sequenced pitch, while the third has step sequenced Minimoog white noise with swept resonance. But what makes this patch move are the effects: There are two global effects, mid-size room reverb and a filter/phaser. The Step Sequencer does right-left panning, but the Master FX, which adds tempo-synched delay, is after the Step Sequencer so it restores a fulle stereo image by bouncing echoes back and forth between the channels. Meanwhile, a bit of EQ perks up the upper midrange. Whee!
                            Simplicity, my new album project, is now streamable from my YouTube channel.

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                            • #89
                              My sample management app Awave has a little utility that renders any dx/tx/tg/ patch to a wavetable. In options you set length and number of regions. Then you chose SFZ as format and well you got a fm patch ready to pull up. It only does the whole bank so you do spend some time organizing the sizeable mess it outputs. 32 patches with the sfz file/ wavefiles for each one. But I bet you can imagine the possibilities The possible combinations? Along with everything else Rapture has included? Wowzers. The downside is it takes some tweaking to get the patch just right but Sheech thats just the way you do it right?

                              This is one fancy synth. I'm a believer. Oh the percussion mp3 with the tri hits and swept noise. I have got to try that.

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                              • #90
                                <<Oh the percussion mp3 with the tri hits and swept noise. I have got to try that.>>

                                I should probably add I was not trying to get that sound. I was actually going for something else and got led down that path - Rapture does that a lot. Sometimes I feel like I'm forming a partnership rather than the programming; I say "how about this?" and Rapture tries to one-up me
                                Simplicity, my new album project, is now streamable from my YouTube channel.

                                Subscribe, like, and share the links!

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