Thanks for the comment

Depends on what the question is? In terms of this I wasn't setting out to replicate the cs-80 or the original timbres rather my question which was "can I, based off the my learnings of a krell patch (random modulation of attack and decay), could I generate interesting human like synth lines?". Co-incidentally this reminded me of the brass sounds created in Blade Runner, so I created this here to keep notes for myself.

If you strip back all the generative parts you are pretty much left with osc->filter->vca->reverb modulated by and envelope, so pretty standard stuff...

CS-80 clone would be awesome, the ARP 2600 clone happened..so keep fingers crossed


Part of larger patch some stuff could definitely be simplified down.

Generative Parts:

Disting EX

  • DUAL Mode - F6 Quantised Random
  • Pentatonic Minor
  • output (pitch) A sent to input 2 of buffered mult 2.
  • Gate output sent to WMD Switch.

Disting MK4

  • H2 - Dual S&H
  • Noise fully added to X and Y,
  • SLEW set to max to generate smooth random voltage.
  • Outputs A and B patched to dual buffered mults input 1.

Pamela's (Clock)

  • Main clock set to 120 BPM
  • Output 1: 4x Gate - Sent Disting EX - Shift Register - X Input(Trigger)
  • Output 5: 4x Gate - Sent to Disting MK4 - Z input(Gate) - Dual S&H
  • Output 2: /4 Gate - WMD Sl3KT switch

WMD SL3KT Switch

  • SW1 - CV Select from Pam's Output 2
  • SW1 - Output A - Stages - Gate in Segment 5
  • SW1 - Output B - Nothing (in larger patch this goes to Rings - Strum)
  • SW1 - Input - Disting EX - Shift Register Gate output (B)

Buffered Mult 1

  • input 1 - S&H Outputs
  • all outputs normalised to input 1
  • Stages - Attack (Seg 5 -Time/Level )
  • Stages - Decay (Seg 6 - Time/Level)

Bufferd Mult 2

  • input 1 - S&H Outputs

    • ONA FM, ONA PW
  • input 2 - Pitch outputs

    • ONA 1/V

Sound Parts

ONA Oscillator

  • 1/V Pitch coming from Disting Shift Register via Buffered Mult
  • FM and PW modulated by smooth S&H via Disting MK4 (Buffered Mult)
  • Octave set to 2
  • Saw wave Output sent to Vult Freak Filter

Vult Freak Filter

  • in stereo mode (being used in mono)
  • Set to Tangents Low Pass Filter
  • Cutoff modulated by Smooth S&H
  • input from ONA
  • output to VCA

Stages

  • AD envelope (Segments 5&6),
  • S&H modulating Attack and Decay Times
  • Gate from WMD Switch
  • Envelop out to VCA

VCA

  • input from Vult Freak
  • CV in from envlope generated by stages
  • Out to mixer channel 1

Mixer

  • Send 1 to FX Aid in BigSky Reverb Mode
  • Master Outputs to main external mixer
  • Channel 1 is fully wet to send 1