WALDORF... Tricks from Snyxol (snyxol@web.de)

HERE are some very useful Tips for XT/Microwave .. some are suitable for others also..
BIIIG thanks to Snyxol, who sent those to me.. because of the high useability I just asked him to put it here.. so.. here they are!!! Very helpful..!!!

> Subject: [MW2] tip: smooth hard sync
>
> if u want to hard sync waves without getting a harsh spectrum, do this:
>
> choose for osc. 1 triangle and ringmodulate!
>
> when modulating osc 2 pitch this results in a very smooth sweep, because the
> triangle fades
> the syncing jump out, thus the resulting signal is continuous.
>
> try it especially with the wavetables: resonant 1/2, resoharm, organs, chorus,
> softsaw!
>
> greets to all microwave users,
> snyxol
>
>
>
>
> Subject: [MW2] tip: soft sounds with waveshaper filter
>
> with waveshaper, modulating filter cutoff makes the spectrum change very very
> fast,
> resulting in agressive and crazy sounds (when using other waveforms than
> square).
> but if u want slower, softer sweeps, try this:
>
> let cutoff constant.
> modulate only the drive = output volume of the mixer (wave 1 mix, if this is
> the only
> used source).
>
> a sweeping spectrum with odd harmonics only can be made with triangle or
> square (the latter one filtered).
>
> cool example: osc1: triangle; filter 1 extra: a harsh wave from heavyfuzz,
> distorted or
> clipper;
> try emphasing the bottom harmonic with the filter.
> it sounds similar to a hard sync sweep.
>
> cheers,
> snyxol
>
>
> Subject: [MW2] tip: S&H
>
> To obtain the same timbre on every note pitch, keyfollow must modulate S&H
> Rate with Amt.
> +56.
> it´s nearly harmonic, but still metallic (well, that´s the intention of S&H)
> when setting
> S&H Rate to 91 (or add -24, -12, +12, 24, etc.) and osc pitch to okt = semit =
> det = 0.
>
> example: killer robot voice with above settings and wavetable Chorus2;
> modulate the
> wavetable by envelope!
>
> regards,
> snyxol
>
>
> Subject: [MW2] tip: overflow and sin(x)
>
> the overflow clipping can also be used for soft (pre-filter-) distortion by
> applying the
> sin(x)>LP12 filter. the owerflow jumps disappear.
>
> regards,
> snyxol
>
>
> Subject: [MW2] tip: unisono spread mod.
>
> here is a trick how to modulate unisono spread by LFO, envelope, modwheel
> o.w.:
>
> don´t use the normal spread; take instead a not synced random-LFO as spread
> source.
> these random values are different in each voice and are mostly more or less
> homogen
> distributed.
>
> example: fat saw lead, the fatness slowly modulated by LFO 1, and LFO 2 is the
> spread source:
>
> poly, unisono, spread = 0
> LFO 1:
> Sync: on/Clock (!!!) (phases must be equal in all voices)
> rate: 20
> shape: sin/tri
> LFO 2:
> Sync: off (!!!) (phases must be different in all voices)
> rate: 0 (but at the beginning u must set it for a short time to a bigger
> value)
> shape: random
> Mod 2:
> Src: LFO 1 (or envelope, modwheel, etc.)
> Amnt: +46
> Dest: M3 Amnt
> Mod 3:
> Src: LFO 2
> Amnt: 0 (or other value for asymmetry)
> Dest: Pitch
>
> happy tweaking!
> snyxol
>
>
> Subject: [MW] tip: pitch independ. phasing
>
> ### pitch independent detune phasing rate ###
>
> (i´m not perfect in english, but i assume the phase drifting effect caused by
> detune is
> called "phasing" (?))
>
> if 2 oscillators have constant (not modulated) detune, the phasing rate is
> bigger at bigger
> pitch, more exactly: phasing rate depends exponentially on pitch and doubles
> after each
> oktave.
> but for certain sounds a constant, pitch independent phasing rate would be
> desireable.
>
> here is a solution that achieves it: (drawback: it needs the modwheel or one
> of the CCs
> W,X,Y,Z to set detune)
>
> osc.s: same wave, exactly (!) same pitch, no detune
>
>
> mixer: both waves at same level (63)
>
> modmatrix:
> mod 3: src: modwheel; amnt: +17; dest: Osc2 pitch
> mod 4: src: keyfollow; amnt: -45; dest: M3 Amount
>
> the modwheel sets the phasing rate.
>
> happy synthesizing,
> snyxol
>
>
> Subject: [MW] tip: pitch indep. phas. - 2
>
> ### pitch independent detune phasing rate - part 2 ###
>
> now i have a better implementation that doesn´t need the modwheel:
>
> osc.s: same wave, exactly (!) same pitch, no detune
>
> mixer: both waves at same level (63)
>
> modmatrix:
> mod 3: src: maximum; amnt: -17 (or whatever); dest: Osc1 pitch
> mod 4: src: maximum; amnt: +17 (or whatever); dest: Osc2 pitch
> mod 5: src: keyfollow; amnt: +45; dest: M3 Amount
> mod 6: src: keyfollow; amnt: -45; dest: M4 Amount
>
> you set the phasing rate by the amounts of M3/4, both must have the same
> absolute value and
> M3 must be negative and M4 positive.
>
>
> happy synthesizing,
> snyxol
>
>
> Subject: [MW] tip: freq. as mod source
>
> ### frequency as modulation source ###
>
> frequency can be suitable to modulate FM Amnt, detune, etc.
> this is the way to convert keyfollow (pitch) to frequency:
>
> mod matrix entry: src: keyfollow; amnt: +/-45; dest: M1/.../4 Amount
>
> the trick is that the amount of a mod has a logarithmic scale => keyfollow is
> exponentialised => frequency.
> works only correctly with +/- 45.
>
> happy synthesizing,
> snyxol
>
>
> Subject: [MW] tip: FM Amount
>
> FM is linear and FM Amount is pitch independent => at higher pitches the
> impact is weaker
> => timbre is pitch dependent.
>
> it´s also possible to keep the timbre independent of pitch by making FM Amount
> be
> proportional to the carrier frequency:
>
> FM Amount = 0;
> mod 1: src: maximum; amnt: +59 (or whatever, must be >0); dest: FM Amount
> mod 5: src: keyfollow; amnt: +45; dest: M1 Amount
>
> or if u want to modulate fm amnt, modulate M1 Amount, or exchange in M1
> maximum by sth.
> like LFO, env., modwheel,...
>
> happy synthesizing,
> snyxol
>
>
> Subject: [MW] tip: comb+ filter
>
> ### comb+ filter / envelope driven mono chorus ###
>
> on the MW2 u can emulate a comb+ filter without resonance (mono chorus)
> modulated by
> envelope/LFO/whatever:
> the mod source (in this example: free envelope) shifts the relative phase
> between both
> osc.s.
> it behaves the same as a 1-osc-synth with comb+ filter.
> if the stages of the envelope have different slopes, the fatness changes
> between them.
> when applying additionally the normal chorus, u can get a brain away blowing
> fat phasing.
> sounds cool with saw, sqr and chorus2.
> the case of sqr is particularly interesting: the sum of 2 phase shifting
> square waves is
> a symmetric PWM pulse wave, containing only odd harmonics; the free envelope
> controls the
> pulse width.
>
> osc.s: same wave, exactly (!) same pitch, no detune
> phase 1: 3°
> phase 2: try out!
> mixer: both waves at same level (63)
> trigger2: mode: poly; assign: normal
> modmatrix:
> modifier 2: src 1: modify #4; type: filter; param: 120
> modifier 3: src 1: modify #2; src 2: modwheel; type: *
> modifier 4: src 1: free env; type: diff
> mod 1: src: modify #3; amnt: -36; dest: Osc1 pitch
> mod 2: src: modify #3; amnt: +36; dest: Osc2 pitch
> mod 3: src: keyfollow; amnt: -45; dest: M2 Amount
> mod 4: src: keyfollow; amnt: +45; dest: M1 Amount
>
> set the mod depht of phase with modwheel, and set startingpoint of phase
> modulation
> with the phases of both oscs.
>
> that´s how it works:
> mod 1..4: see "[MW] tip: pitch independ. phasing" and "[MW] tip: freq. as mod
> source".
> to move the relative phase the oscs must be detuned.
> the phasing speed is proportional to the frequency difference (not detune!) of
> the
> oscs.
> mod 3/4 make the frequency difference pitch independent.
> modifier 4: the slope of the free envelope must be proportional to the phasing
> speed => the
> env must first be differentiated and then it must modulate the frequency
> difference.
> modifier 2: before the differentiated envelope modulates the frequency
> difference, it is
> smoothed to reduce abrupt fatness changes between the stages.
>
> happy synthesizing,
> snyxol