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Workaround? Patch the modular envelope generator to VCO 2 pitch, set everything except sustain to zero with maximum modulation amount, then use the sustain level parameter to dial in your interval. Interval tunings. Because VCO 2’s tuning knob is strictly for detuning, you can’t access intervals directly. Here are a few tricks to get you started. That said, it’s got some quirky limitations that a modular approach resolves-a bit like a puzzle for synth nerds.
Dublin analogue semi-modularĮnvoking Korg’s classic MS-20, the Dublin monophonic synth is a fantastic way to dip a toe into the waters of modular synthesis, since its modulation routings must be done with virtual patch cables.
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Gate/Env. While the panel diagram appears to correlate the envelope/gate parameter to the filter, it actually switches the amplifier between gated (no envelope, full sustain) and the shared ADSR.īite and Gnaw. These filter parameters apply distortion to the filter, with Bite serving as a classic 303 overdrive and Gnaw behaving like a Minimoog-style feedback loop.Įffects. All of Chicago’s effects are clearly labelled, with the exception of Decimator which is actually a bit-crusher. Accordingly, settings between -20 and +20 exhibit a slight phasing which can be cool for keeping a repeating pattern subliminally interesting. Saw/Square. The oscillator waveform is continuously variable between sawtooth and square, which are actually two discrete oscillators that are slightly detuned. Though the majority of its parameters need little explanation, here are some details that may not be immediately apparent. This synth is optimized for TB-303 emulations, with an integrated arpeggiator that speeds up the process of making acid bass lines. The “First Evolution” preset in the Factory 2 bank is a great example of this technique. By using slow filter envelope settings with long attack, decay, and release settings, its sound becomes extremely complex. Hybrid approaches. Starting with the classic subtractive approach described above, you can create thick, evolving textures by selecting triangle waves for both oscillators (the carriers), which will deliver a brighter FM result when you tinker with the VPM depth and envelope amounts. House fans take note: by setting the VPM harmonic to 2, depth to 10, and VPM envelope depth to 40, you’ll have the perfect starting point for the “future house” bass sound.Ĭlassic subtractive. By leaving the VPM settings at zero for both oscillators, you’ll create a standard virtual analogue signal path, with individual waveforms and pitch for each oscillator and the bonus of an integrated chorus and delay. From there, tinker with the VPM envelope depth and the filter envelope settings.
For example, a harmonic setting of 3 is close to the DX “jazz guitar” preset, while a harmonic setting of 5 delivers its “marimba” sound. Start by setting oscillator 1’s VPM depth to 50, then click through each harmonic, noting the similarities to iconic DX7 presets. Yamaha-style FM. Setting both of the oscillators to sine waves with all other parameters at their default and filter cutoff at maximum will give you a classic starting point for traditional FM synthesis. Here are some tips for programming Chiang Mai, both as an FM synth and as a source of more familiar subtractive textures. Both modulators use the same envelope, but that’s not a huge deal-breaker sonically. These modulators also include VPM (FM) depth and an envelope modulation-depth parameter that is tied to the filter envelope. Each of the two oscillators is a discrete FM modulator/carrier pair, with the level, waveform, and pitch parameters governing the carrier, and the associated VPM parameters controlling a modulator that can be tuned to any of 24 harmonics, in addition to the sub-harmonic octave (0.5 setting). To fully grasp its capabilities, it’s important to understand the underlying architecture.
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As a result, it’s worthwhile for Gadget for Mac users to consider using the AU/VST version in conjunction with other DAWs they may own. Despite the terminology, phase modulation is a term some purists use to describe Yamaha’s implementation of FM synthesis, Chiang Mai is a remarkably powerful FM synth that is capable of both classic FM textures and complex modern tones.