So, this patch has one problem, while I followed the steps as best as possible, there does not seem to be a note off trigger. I went looking through his other work and downloads for the subpatch he uses and did not find it. Oh well. This patch works by generating a monophonic waveform that is then fed through a band pass filter. This filter is attached to a modulation engine that effects the cutoff frequency and the rate at which that cutoff filter is opening and closing. In doing this, we are able to cut out certain frequencies and then bring them back in rapidly. This results in the low “wubbing” sound created by the patch.
Hey Forrest, I couldn’t seem to get the sequencer to actually be a sequencer or record anything. Jeff and I both looked at it and couldn’t find what was wrong. If you could take a look at it and let me know, I would really appreciate that.
Enclosed you will find my Ableton Project files and my song exported as a .Wav file.
- Fly Organ uses three voices. The most audible is voice 2. Under the voices tab for voice 2 I can see that it is a sawsquare with significant modulation being applied via a resolopass and frequency modulation. It is tuned one octave below the normal frequency. The amplitude envelope has four points and is fairly straightforward, it allows for the swelling of the low end frequency.
- The next loudest is voice three. This is a triangle wave that is tuned one octave above neutral. It is being effected by the resolopass as well, which steps down, opening the filter for it. The amplitude envelope also has four points but has a much shorter attack and a longer decay. This allows for the sustained blowing noise as well as the fact that it rapidly swells and then slowly diminishes.
- Finally, there is voice one. It is another saw square with the resonance turned up in it’s resolopass, which rapidly decays. The amplitude is also four points with a short swell to full amplitude and a rapid decay. It is at it’s neutral note.
- The modulation tab shows me that there is a rapid LFO being applied to voice one on the resonance and frequency of it’s lopass, creating a warbled effect that allows for a wobbling tremolo. There is also an LFO with very little modulation being applied to the pan-position of voice three, allowing it to seem as though it is reverberating.
- The mixer shows that while voices one and three are sent to the splitter sends and to all the delay sends (voice three) and all except 2 and 4 (voice 1), voice 2 is only sent to delay 4. The effect of this and the panning visible is that it creates a thicker, fuller sound that makes it seem as if the sound is filling the room.
I could not get my preset to export.