I absolutely love this new synth SPACE, but I noticed a few things I wanted to add:
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I want to be able to the change the metallic sound. So far the knob only allows a way to add a bell sound, and I'd like to be able to change the way it sounds. The SPACE user manual described the metal knob as "detunes the overtones in the frequency spectrum." I'd just like to have a way to change that detuning.
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I constantly find myself wanting different sounds. This synthesizer has a boatload of ways to change harmonics and overtones and whatnot, but there's no real way to change the actual sound itself. You know how the Heisenberg has different waveforms (and no way to change harmonics lol)? Something like that. Or at least a way to add more overtones (i think I'm using the right term lol)
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Filter Modulation. I need a built-in lowpass/highpass filter and an envelope for modulation, kinda like the graphical one on the Heisenberg. I understand theres a way to mod it between Sound A and Sound B with Sound A being brighter and Sound B that has a lot of harmonics taken out, but its just not the same thing as using lowpass/highpass filters.
Honestly that's it, I absolutely love this new synth. Giant shoutout to https://www.audiotool.com/user/jordynth/ for being the main developer of this amazing synthesizer :D
Comments (14)
You want a filter for each sound right? I would appreciate that. As for the modulation envelope don't we already have one? Or are you suggesting another one or more routing options?
Remember how in the heisenberg you could use an envelope to modulate the filter? I can give u an example if im not making sense
You can actually achieve this (at least the filter) by using the underrated audio in on the Pulv to send the output of Space to a synth that has more features like noise, waveforms, etc.
thats... complicated. but i understand it
its way more difficult to do it that way, but ur right thats definitely a way it can be done
I wasn't the main developer! I just contributed several ideas to the design and gave a lot of feedback. But André was definitely the brain behind it and corrected/improved on a lot of my proposals! About 2) You can use the Separation parameter to essentially change the basic waveform of each sound. A setting of 1 creates the equivalent of a saw-tooth wave. 2 creates the equivalent of a square wave. 3 and 4 create harsher waveforms, which sound radically different. If you reduce Dispersion and Vaporisation to zero, you have pure sine waves. And if you increase them a lot, you have a great noise generator. That covers most of the basic timbral range that a synthesizer can produce. If you add to that Metal and the comb filter, plus layering with the second sound, you have a hell of a sound palette. It's just a matter of imagination to create totally different sounds. About 3) like Apollo said, I've been experimenting by using the Pulv to filter the output of SPACE and it sounds great. It's not difficult at all. You just need a single note region on a NoteSplitter device and feed both synths with it. For added thickness, you can add an oscillator from the Pulv to the incoming audio of SPACE. That way you get pretty amazing sounds.
Oh shit. This just helped me a lot with some sound design.
About 1) Overtones can be harmonic (they fit exactly the frequencies of the harmonic series, that is, integer multiples of the fundamental frequency) or inharmonic (they don't fit the harmonic series and are placed "in between" them, randomly). Given that the Metal parameter "moves" the overtones of the sound around in the frequency spectrum (so much that they even end up crossing each other), I think it's difficult that you wouldn't find a specific configuration of inharmonic overtones that you might want. Metallic sounds (bells, gongs, triangles, any kind of metal being hit) sound like they do because their overtones are inharmonic, and SPACE does a very good job of recreating them. If you want to change the way the metallic sound sounds, maybe you are thinking of adding noise to it, like in a snare drum (Dispersion and Vaporisation), tone (add or remove harmonics) or basic timbre (play with Separation). But what determines that something (anything) sounds metallic is the inharmonicity of the overtones, the fact that they are displaced from the harmonic series, which you get with the Metal parameter. I hope that this was useful for what you meant.
Related to a Next app device.
Oh. I originally thought it just added the effect. You're saying it literally moves the harmonics, right?
The more you know
about 1 and 3, you're saying you have the capability, but the one thing stopping you is cpu usage?
Ahh, so that's what's up. I noticed all of the synthesizers seemed pretty basic compared to professional plugins. But you're saying you can make something as complex as, idk, Massive. But u can't because the average laptop user wouldn't be able to run something that big in-browser, correct?
As for 2, yeah i kinda figured.
Then again there's always layering, which ive done, and now that Space is in the mix with a few Bergs and Pulvs, I'm starting to get bigger sounds :D
Yes, it moves them around in the spectrum. The display is very useful to visualise this. They go from regularly spaced to be all over the place. Perhaps it would be clearer to change the text of the manual and explicitly say that the overtones are moved or displaced in the frequency axis, instead of using the word detune? Or I could also add detune to the glossary, so that its meaning is clear.
Yes thats true, it did confuse me a bit. But now i understand, so its all good
oh nice