Bass microsynth mod Patch#

Bass microsynth mod Patch#

You can also patch that stereo cross fade out into your effects chain and then to your device output. Then I’d recommend putting a stereo cross fade plug-in at the end of the chain, and patch your dry signal and synth output into it to control your wet/dry mix on the output. This should allow you to build your own personal synth sounds with a bit of envelope manipulation. But I also use a hydrasynth that utilizes 2 filters in my audio path, with 17 filter types to choose from. This allows you to control the “brightness” of the sound.Ī single HP/BP/LP filter would be enough, and I know that plug-in exists. You can also apply an envelope or LFO on the VCA for volume control and swells.Īnd finally, one or two filters (High pass/Band pass/Low pass) with either a 6,12, or 24 dB filter. If there is a VCA (voltage controlled amplifier) plug-in, put this in before the filter. But it will chew up the CPU most likely.Ī lot of people apply LFO’s to the filter for automated filter sweeps, or to the VCO’s themselves for timbre change, etc…

The more LFO’s the more complex you can make your sounds. You will most likely want a modulator like an LFO for automation. Slow attack, long release for pad sounds etc… ADSR envelopes are preferable for certain sounds, and is what I recommend to use. These help shape the way the sound behaves. This raw VCO signal will need a few more plugins.Ī mixer for the VCO’s if you are working with voices greater than monophonic.Įnvelopes that can do Attack/Release, or Attack/Decay/Sustain/Release. What I think might work, is finding a plug-in that listens to the incoming audio note, and converts it into a midi message.įrom that midi converter, you should be able to patch it into a separate midi chain that consists of however many VCO’s (voltage controlled oscillator) you need (monophonic, duophonic, paraphonic, or polyphonic) and what wave shape (Saw, Sine, Pulse, triangle, waveform, etc…) while being mindful of cpu usage. My studio is ripped apart right now because I had to convert it into an office space while I have been in driving school (passed all online stuff, tomorrow I head south to attend on road classes) so I can’t look at my plug-in options.Īs a synthesizer player, sound design is a big deal, but it takes a lot of work.Ī mapping in my brain that I have to potentially accomplish what you would like to do would take considerable work. For some reason I'm having a hard time making a decision what to buy (XO or big box, bass or guitar version) and wonder if you all have any input that could help get me 'unstuck'.So I’m looking at the SY-1 and it does seem simple to use for guitar. Does anyone have an opinion as to which (XO or big box version) sounds better? Obviously, the big box version can be modded for true bypass and fitted with an on/off status LED, so sound quality differences between the two are the real concern. However, it's input jacks are on the sides instead of the top, limiting the benefit of the pedal being smaller (a con), and it's 9v instead of 24 (possibly a con). However, I can't help but wonder: is there any reason that the guitar version is 'better' for guitar, giving cause to regret having bought the bass version to use with guitar?Īlso, the newer XO versions are smaller, have true bypass and have a status indicator that shows whether the effect is on or bypassed, which are all pros. If the Bass Micro Synth is great for guitar and the guitar Micro Synth isn't so great for bass, then it seems logical that the Bass Micro Synth is more versatile, being usable for both instruments. AnalogMan and others indicate that the Bass Micro Synth is great for guitar. I mainly play guitar, but sometimes play bass, and can see myself possibly playing more bass in the future than I do now. I have a burning desire for an EHX Micro Synth.

I have some questions and would appreciate some input.