KVR :: u-he » Zebra Sound Design -tips, and tricks [View Original Topic]
There are 64 posts in this topic.

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mcnoone - Fri Oct 01, 2010 4:42 am

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Hi.
Just thought I'd start a thread were users might want to post some sound design techniques that they like to use, and wouldn't mind sharing with the community.
It might be a good way to help people just learning to use Zebra, in gaining some knowledge and ability using it.
I'll post some of my own ideas regularly, and invite other users to post some tips, and tricks as well.
Thanks.

Michael

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mcnoone - Fri Oct 01, 2010 5:28 am

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Creating a one oscillator "chord" patch

Start with 1 Oscillator. The default Saw wave is good.
For a fuller chord tone we'll use a single oscillator set to "eleven" mode.
Detune -16
Using only the Osc FX to create the chord.
Set the 1st Osc FX to "Fractalz", then move to a value of 48.00
Set the 2nd Osc FX to "Sync Mojo", then move to a value of -70.00
You now have a chord made with only one oscillator.
Odd for Even is another one to mix with the other 2 Osc FX for chords.
Positive values with Fractalz and Sync Mojo will increase the pitch.

In combination with drawing the right waveform, you can make very unique sounding chord stabs and such with only one oscillator.
Making more complex chords available with using 2 or 3 oscillators.

Have fun.

An example preset is the ZPC 03 Expressive- Saint & Sinner
You can dl that here.
http://www.u-he.com/PatchLib/zebra.html

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mcnoone - Fri Oct 01, 2010 5:28 pm

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How to get a brighter tone.

Start with only 1 oscillator in the grid.
Saw wave is good.
Try "eleven" mode for this to get a good dance sound patch.
Detune to -16
Maybe some longer 60% release time on the envelope might help.
Using the Osc FX, set the 1st one to "Brilliance" +90.00
Then set the next Osc FX to "Brilliance" also to +90.00
Add a filter to cutdown on the brightness..
You will need some kind of peak limiter, or using the built-in compressor to limit the highs. Some EQ might help.
Setting both Osc FX to "Brilliance" mode, with both set to anything above 50.00, will increase the brightness of the sound a lot.
You can also set the Osc mode form "soft" to "crisp" from the Osc tabs at the bottom of the ui, on the right side next to the wave graphic.

Here's an example preset with a filter added.
http://www.megafileupload.com/en/file/132415/mc-Brighter-Than-You-

(note, I'll change the dl site to box-net asap)

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runray - Sat Oct 02, 2010 12:42 am

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Wow! Thanks Michael for you tricks. Very helpful!
And here is my tip that I found recently.

Modern dance bassdrum (Kick)

Nothing to say, just look in the preset and on the picture:



The trick is the "right" settings of MSEG.

Download preset

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Howard - Sat Oct 02, 2010 5:22 am

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One of my favourite tricks is to use an AP Allpass filter in parallel - great for hollow/etherial sounds or polyphonic phasing. There are loads of examples in the presets... scroll through them and stop wherever you see a VCF in a side chain.

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xh3rv - Sun Oct 03, 2010 10:47 am

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I hadn't thought of setting up an MSEG this way but it makes _perfect_ sense - this is really cool, easy to tweak!

Oh, a tip ...
Creating just a few directories to keep track of one's own patches makes all the difference in the world for keeping things organized. Justin3AM's patch bank has several variations of single patches (patch A, patch B ...) - from this I learned that doing this can be a really quick way to iterate through some ideas without losing the starting point, I usually find one of them that I like a lot more than the others (not always the last one ).

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bmrzycki - Sun Oct 03, 2010 11:22 am

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+500

I often find when I explore a sound that a bit after the midpoint of exploration is where I was the happiest with the sound. Unfortunately I don't know where that midpoint is until I'm done exploring...

I always do "preset name 01" and then "preset name 02" and I save often. I can always go into explorer/finder later when I'm no longer in the right-brain creative flow and delete all the ones I don't care about.

One day our desktop OSes will have nice filesystem versioning found in ZFS and BTRFS (and somewhat in Apple's Time machine). Until then, use those 01,02,03.. names to save that creative moment!

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pdxindy - Mon Oct 04, 2010 12:03 pm

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Feed an OSC into a Comb module and put a decimate filter in between and modulate the cutoff for some fun effects...

Here is a sound example... has a couple more modulated filters after the comb module but the basic sound is using the decimate filter between the osc comb combination...
http://draigathar.org/sounds/burbang.wav

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runray - Mon Oct 04, 2010 12:32 pm

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Wow, effects are really cool! Thanks pdxindy...

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pdxindy - Tue Oct 05, 2010 10:17 am

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welcome... Zebra is so much fun... !

Another thing I like doing with Zebra...

because there are independent channels, it is easy to take a copy of the sound and remake it in another channel... in this case I sent the main bass sound to bus1 and then used a modulated eq to drive a delay and create the background part. Here is the sound.
http://draigathar.org/sounds/bluarp.wav

and since it is easier to see than explain... here is the preset
http://draigathar.org/zebra/bluarp11.h2p

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pdxindy - Wed Oct 06, 2010 12:12 am

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Okay... feeding an osc with very short env as an exciter into a comb module... It is tricky to control the sound over a few octaves... So playing with the tune of the osc and the keyscaling gives some good control. Also the Osc Sync is rather useful here and again controlling the sync amount over keyrange. Changing these is similar in sound to plucking a guitar string by the bridge or farther up the neck. Osc at eleven and osc detune at max gives more complex sound.

OscFX are useful... Trajector for example can be used to adjust the tone on the low end... Exophase can give a smooth round plucked sound or more hollow depending on the setting. Scatter can add a bit of shimmer or buzz and so on...

Also... using a modmapper set to alternate and randomized and applied to Osc Tune to add some variation gives a nice result. You can also put the modmapper on the comb damp and flavour and tone parameters. You can make every note subtly different in a pleasing way.

Here is an audio sample of the above techniques all put together...
http://draigathar.org/sounds/cande.wav

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pdxindy - Wed Oct 06, 2010 10:11 am

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Here is one I discovered recently: using the Mod Mappers to add Glide and/or Vibrato to every 8th or 6th and 16th note (etc)... adds a nice variability. Set the mod mapper to alternate and steps to 8 or 16 or other and raise a bar or two... You get some nice note bending that is polyphonic unlike the pitch wheel. Play with the glide mod amount and range controls to taste.

Here is an example:
http://draigathar.org/sounds/detar.wav

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chardin - Wed Oct 06, 2010 3:12 pm

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pdxindy, those last 2 sounds are very nice (cande.wav and detar.wav). Any chance of getting presets for them? (please, please, please) I'm not very good at sound design and I would like to see how the comb filter and mod mappers are used.

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Exie - Sat Oct 09, 2010 12:25 am

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I've recently found that small amounts of scrambler brighten imported analog saws in much more pleasant way than brilliance does. That's really nice on low notes, wretched 128 samples just suck there. Only positive or negative values work, depends if saw is inverted or not. This works only on saws, I still don't get what's the deal but it worths to be a separate feature

I also found useful to draw inverted saw and square in geomorph, it works great when blending synthetic zebra's waveforms with imported darker ones by syncing their phases, and most other synths have inverse saws

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mcnoone - Sat Oct 09, 2010 1:03 am

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You might want to download these presets here.
Zebra Patch Contest 13: Hey Motherplucker
http://www.u-he.com/PatchLib/zebra.html

They have more than a few comb filter presets included.

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tasmaniandevil - Sat Oct 09, 2010 4:37 pm

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--static random value lfo:

To get a different static random value for every key pressed, choose a voice lfo (not a global lfo) and set it like that:
-"waveform" to "random hold"
-"restart" to "gate"
-"rate" all the way down to "zero"
That's it.

--tuning an oscillator deeper than -48 semitones:

-first set its tune to -48
-in the tune modulation slot load a modmix module and leave its setting at "sum modulations"
-set tune modulation depth all the way down to -48
-set the "constant" parameter of the modmix module all the way up to 100
Now you are at -96 already.
-you can go even deeper if you load a modmap module (mode "key" or "alternate") into the modmix module and set all of its values to +100
Now you are very very loooooooow and will probably only hear some lonely clicks from time to time.

--creating crazy lfo rhythms:

You can create some wild, unusual but still useful new lfo rhythms beyond the usual lfo-waveforms by modulating the phase parameter of an lfo.
There's no modslot for the lfo phase in the lfo module but you can reach the phase by choosing it as a target in the modmatrix. If you now load a modmix module as modulator and another modmixer in the "via" slot you can modulate the phase by up to six different lfos or other modulators.
Just start experimenting with different waveforms and rates for each lfo and then continue by modulating the parameters of each lfo with some of the other lfos or different modulators.
This will create lfo rhythm mayhem. But if you don't loose oversight you can create lots of cool rhythms (or simply let the chaos take control).

Cheers,
Thomas

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mcnoone - Sun Oct 10, 2010 4:05 am

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Thanks everyone who shared their design tips.

1.Hidden Overdrive.
Legato mode (the other modes don't really work good with this)
This will work with 1 saw oscillator set to single mode, but I used a square, and it sounded better imo.
Using 2 Osc FX's.
Set the 1st one (left side) to "ChopLift", turn right to +50.
Set the 2nd one to "Symmetry", turn right to +50.
It might be peaking somewhat, so lower the output somewhat.
yea I know...

2.Fast Attack.
With the same patch, draw a square wave, as it works better for this patch.
Turn on the "Phase" button. (1st icon from left on the osc)
Assign "Env2" to the Phase, using the Mod Knob next to it.
Set both Env1, and Env2 to 1/8 in "v-slope" mode, with the slope lever set all the way to the left.
Give "Env2" a "Decay" of "32"-Attack and Sustain are at 0, and Release is short.
Move the "Phase" knob to +55, then move the Phase Modulation knob w/t Env2 assigned, to the left at -46
You can of course play with those settings to get a harder hitting attack.

You can also turn on "Sync", and assign "Env2" to the Sync Mod knob, and turn it right to about +12 for a more defined attack.
I set my Sync mod to an Env3, and gave it a longer decay time.

Now find a filter. I used an XMF, with some high resonance settings, and analogue mode.

The last module in the chain will help in lowering the mids, which will be very fat, but to get it in a mix, we'll lower it, not using EQ (although we could), but a Sideband module instead.
Just put an SB1 module in the last slot in the column, and turn the "Mix" to the left, at a setting of -34.
This will act in place of messing with an EQ, and can make it leave more space for a complete mix, in the mids.
I have these Sideband mods used as options in many of the presets I'm doing, where it will be off by default in the grid, but can be turned on to use.
It helps give certain acoustic type instruments, a more realistic tone imo.
Works great for guitars, and horns. Could do it with EQ also, but not as easy to find those settings.
The preset I did will be available in my next bank of Zebra patches.
With certain extra things, that I didn't mention here.

Hope these tips help, as they are some ideas used on my next bank, which is still unreleased. Should be out by Christmas though.

Enjoy

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Howard - Sun Oct 10, 2010 7:50 am

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Great tips, Tas!

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Bronto Scorpio - Sun Oct 10, 2010 8:11 am

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Wavetables as Filter LFOs

1) Use the technique tasmaniandevil describes above to tune an osc way down.
2) Route this osc to the sidechain input of a XMF filter.
3) You may want to set the KeyScale knob of the osc to 0. This way it won't follow the keyposition. But you don't have to!
4) Use the FilterFM knob on the XMF module to set the amount of modulation.

Now you can "draw" your own LFO waveforms, just "draw" the waveform of the deep tuned osc. Of course you can also blend between different waves in the wavetable or use some oscFX.

Cheers
Dennis

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Bronto Scorpio - Sun Oct 10, 2010 8:32 am

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Here is an example patch: WavetableLFO.h2p
Use the modwheel to morph between different LFO waveforms.

Cheers
Dennis

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runray - Sun Oct 10, 2010 9:51 am

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OK, here is an another one tip (my secret weapon)

Fuzz Distortion FX:
1) Load a "Comp" module in the effects grid
3) Choose the "Strong" type for compression
2) Set the "Attack" and "Release" = 0

That's all!

And the "Threshold" is a level of distortion

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Howard - Sun Oct 10, 2010 10:04 am

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Donner - Sun Oct 10, 2010 1:11 pm

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Great idea, this thread!

Using liberal amounts of resonance on one or more filters
This is something I can recommend: Take an oscillator and then use one or two or three filters and bring the resonance up high on all of them.
Then adjust the cutoff and the resonance until you get a sound that is almost devoid of any harmonics, there is just the impression of the sound left.
With some work/experimentation you can get a wonderful transparent lead sound that sort of drift high above the rest of the music.

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mcnoone - Sun Oct 10, 2010 10:02 pm

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Here's my preset and a couple of mp3 examples for my last posted tip.
The h2p preset is not the same as the one I used for the mp3's.
Please read the info box or look at the XY Pad tab for information on the patch.
There is 1XY pad you can use, and some filters and FX turned off by default.

Overdrive h2p preset
http://www.box.net/shared/1chqtqfj85

Overdrive mp3 (dry)
http://www.box.net/shared/be66tsprak

Overdrive1 mp3 (internal delay)
http://www.box.net/shared/jkc3nyzxvg

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Donner - Thu Oct 14, 2010 12:09 pm

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Use FM
FM-synthesis is wonderful, so place a FMO somewhere in the matrix, move it around in the matrix and see where it takes you. Sometimes I do it with my "finished" sounds to push them in new directions.

Use a SB-module
It is possible to get a charming, subtle motion in your sounds with SB.
Play with Frequency, Offset and Mix. Modulate these with a LFO (and try to change the LFO's rate).

Don't forget that there are 2 more filters and shapers in the effects section

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Gino Cortesi - Fri Oct 22, 2010 12:55 pm

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I stumbled across this video made by Zircon and I learned some nice techniques.

http://www.youtube.com/watch?v=JZFPmENLnBQ

My favorite is at 3:30 when he shows that inverting a saw makes a pulse wave.
Maybe everyone knows that, but I didn't

Best regards,

Gino

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Breeze - Tue Feb 01, 2011 2:42 pm

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Fixed Frequency is available in Osc settings as described in the next post.

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bmrzycki - Tue Feb 01, 2011 3:07 pm

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Maybe I'm being dense, but why didn't you just use the "key scale" knob set to 0 on the "Osc X" tab for the relevant oscillator?

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Breeze - Tue Feb 01, 2011 3:51 pm

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No, not at all! Clearly I missed that, so I'm erasing my post as it doesn't belong here. But you should leave yours as someone might need it some day...

Thanks!

PS: I still think this thread should be a sticky

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bmrzycki - Tue Feb 01, 2011 4:28 pm

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Hey now, you're more than welcome here. It sounds like you're seriously learning Zebra2 and I'm sure you'll discover something unique for this thread in no time!

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3ee - Tue Feb 01, 2011 5:06 pm

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Basic tip:
Learn and experiment OscFX + combinations

Fast gritty timbre selector mini-tutorial:
Start with a Osc Module (saw or sawish Geo waveforms) followed by a VCF LP6db

OscFX1: PhaseXFer 100
OscFX2: Scrambler -48

Backoff VCF cutoff to tame brightness.
Lower notes sound more.. cool
Randomlly tune one or both OscFX but let them to a static position (No OscFX mod.)
Plethora of gritty timbers to choose from with some microtweaks!

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mcnoone - Wed Feb 23, 2011 5:56 am

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I forgot to add a very vital tip for learning to use Zebra.

Read the manual.



http://www.kvraudio.com/forum/viewtopic.php?t=304206&start=0

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3ee - Fri Oct 07, 2011 4:38 am

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try this:
-Load a default saw oscillator.
-OSCFX:
slot 1: load the "registerizer" and give it about half of positive value.
slot 2: load "symmetry" and give it positive or negative 4 to 12.

-Lower pitch.

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Gonga - Fri Oct 07, 2011 6:00 am

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+1 The manual is great!

Thanks for all the tips everybody! Zebra is a bit more complicated than my old analogs But what a payoff for time spent!

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Bronto Scorpio - Fri Oct 07, 2011 7:17 am

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Yaaaaaay! Lasers! Pweeew pweeeew
Great patch! Thanks for sharing

Cheers
Dennis

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3ee - Fri Oct 07, 2011 7:27 am

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Hey.. not that low! (pitch)
Was referring more of a cool texture for a bass sound.
Like this one: http://www.box.net/shared/p18489fcqkclaqvtk9nr

Try switching to arp more to get an idea.... some XYs are assigned as well.

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Sendy - Fri Oct 07, 2011 4:41 pm

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Here's one I call Zebra's "Plastic Filter"

Get the standard sawtooth, and add the following Osc FX:

Ripples to FX1, knob fully clockwise. This will add a fake resonant peak.

Filter to FX2, knob central. This is a fully open filter, which will close when we apply negative modulation.

Now add negative modwheel modulation to both effects. Start with both assignments at fully negative position, and tweak the ripples mod a bit if you like, so that it tracks the 'cutoff' point in a pleasing way. Then, replace the modwheel assignment with something else if you like, like and envelope. I recommend upping the waveform resolution (how often waveforms using the wavetable and Osc FX are updated) if you're using fast envelopes. A value of 2 or 3 o'clock seems to be a good 'catch all' value.

This produces a really weird, plasticy-digital, phase-distortion style resonant filter which sounds kinda whacky on chords especially.

EDIT: I made a mistake here. This setup doesn't provide enough modulation to sweep the resonant peak.

To correct it, cancel the FX1 modwheel modulation in the oscillator panel, and instead go to the matrix. Now add modwheel in entry 1, with a fully negative amound, set the via knob to fully negative as well, selecting "modwheel" for the source. Now set the destination to Spectral FX1 Value.

Setting modwheel "via" modwheel in this way creates a more exponential response which seems to follow the cutoff better, and tends more toward the lower, more interesting frequencies. It's this "via" value that you can alter slightly to change the nature of the sweep and pick out different harmonics.

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Sendy - Sat Oct 08, 2011 12:23 pm

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To improve the "plastic filter" sound, I've added a suboscillator square with it's own filter, and added a static notch filter, whose job it is to remove the resonance ringing when the filter is fully open... And it works better than I could have expected! I can also use the notch filter to track the resonance, and attenuate it by a desired amount, providing variable "PD-style" resonance. I haven't tried executing this yet, but this is quite a unique sound

Where's the best place to upload a patch?

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xh3rv - Sat Oct 08, 2011 1:09 pm

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I like Box.net, free and easy to download from.

Spurious half-baked light-bulb-shorting-out feature request: copy and paste between an active Zebra and clipboard text

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Bronto Scorpio - Sat Oct 08, 2011 1:11 pm

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+1 for box.net and the clipboard feature

Cheers
Dennis

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Gonga - Sat Oct 08, 2011 2:29 pm

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I'll be checking out these patches as soon as I can. Thanks everybody

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3ee - Sat Oct 08, 2011 3:42 pm

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Yep... +1 for box.net

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3ee - Mon Oct 10, 2011 6:27 am

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Try this on a default saw wave:

OSCFX:
1st: Filter set to (-96 to -100)
2nd: Phase Xfer set to +50 or -50.

The result will be an analogue like waveform similar to the "sine" wave in ACE.

PS If you set the oscillator to PWM mode and the phase to 50, it will turn into a triangle. Nudge the phase knob a bit for tuning the sound character.
You can also try to alter the wave a bit in the osc wave tab.

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3ee - Tue Nov 29, 2011 3:58 pm

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Zebra LFO tips and tricks:

1a. LFO noise (Feedback LFO)
1b. LFO noise (Random MMap)
2. Very fast LFO (Custom Drawable LFO Shape)
3. Fastest LFO Clock.

=======================================

1a. 2LFOs + 2ModMatrix Slots:

Pick a 1st LFO to modulate the pitch of an oscillator for example and set the mod amount to 1.00 or 0.50 for starters.
Triangle shapes seem to work best but sines or other shapes may work OK as well so, triangle shape, speed max synced by 0.1s, phase to 50.

mod matrix: LFO phase modulated by a 2nd LFO (with the same settings as the 1st) by the amount of 50.
mod matrix: 2nd LFO phase modulated -50 by the 1st LFO.

Now you can assign the 1st LFO or the 2nd to any control to introduce small (or large) amount of noisy artifacts. Some of the best candidates are; pitch, pw, pan, sync.

1b. Same basic idea but a different way. 1LFO + 1 ModMapper
Start with a new preset: modulate the osc pitch for example with the modmapper by the amount of 2.

128 step randomized MMapper in smooth or quantize mode, modulated by an LFO (same settings as in 1a.)

------------------------------------------------

2. one envelope (or MSEG) + MMapper

Trying this on a oscillator pitch again but you can modulate (almost) any other parameter, select MMap and set any modulation amount.

MMap: 128 step, map smooth mode with a triangle wave drawn in, smooth it out and select an envelope as it's modulator.
Env: Set it to loop D mode (loop A for a bit more control, usually not needed)
Set the fall/rise knob to maximum (minimum will also work) and everything else to 0.
Control the "LFO" rate with the env decay knob (+attack in loop A mode) use the rest of the knobs to control the "LFO" behavior.

You can also use, the MMap with a less number of steps, but you'll loose the maximum speed of the oscillation. (in most cases you won't care about that anyway)
Lot of fun with 2-8 steps... also try setting the MMapper in map quantize for a ... modulation sequencer

------------------------------------------------------

3. Similar to the 2dn example but even faster... I guess we can call it "HFO"
Set it up like in example 2, but use the MMix instead of the MMap as the modulation source.

MMix: sum modulation, select the MMapper for 1st and 3rd slot... set the constant to maximum.

The rate of the maximum oscillation is so fast, that you can actually tune the oscillator with the modulation value with a couple of cents "handicap" within the 48X2 semitones range.
That means that the oscillation rate is about 22,050 Hz, right? .. anyway, most of the parameters aren't even picking up the modulation at this speed.

Get another oscillator running as your tuning fork, set the envelope to v-slope and finetune the oscillator pitch from there instead of the detune knob.

You may want to use this LFO trick for aliasing, alternative offsetting values and ... still trying to figure out how to "re-clock" the oscillator and have a bit more control.
--------------------------------------------------

Some patches Zebra 2.5.2 http://www.box.com/s/de8ug15z6nzq0kti2v60
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Sendy - Tue Nov 29, 2011 5:35 pm

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Here's something I've had fun with recently: Square wave additive synthesis.

Four squarewaves stacked in octaves atop eachother and with phase reset active to bind them together, and you have something along the lines of a sawtooth. You can now get a nice take on "saw PWM" by using the modwheel to do PWM to all of the waveforms in unison. Set to a slow envelope it makes amazing pads.

Sync sweeping all of the squares in tandem doesn't create a sync saw, but instead they lose coherence and the sound disappears into a sea of pulse noise. The impressive thing is that when you bring the sweep back down, the pulses will 'magically' reform into the sawtooth approximation again.

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3ee - Tue Nov 29, 2011 6:42 pm

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Cool Sendy

I really need to explore more with the phase reset switch on.
Basically, that's how I see new digital timbres getting born.
wave+phasereset+phase ... not to mention oscfx or anything else


That reminds me, yesterday, I was exploring new ways to get superwaves. Getting some interesting results with comb filters + delays.

+I suspect that the JP8000 supersaw is made up from a clever comb filter combination or derivative... because, when I was trying to get as much as possible into my JP8000 Zebra patch, I've accidentally stumbled upon the OSC feedback mode.
Not really remembering now, but I've done that with the comb filter and osc sync where the comb filter pitch is going up, the sync is going down.. so I suspect that the original supersaw was done using 3 or 6 comb filters modulated by 3 or 6 free running key tracked LFOs or something ...

anyway... try getting some superwaves in that way with Zebra in single or dual osc mode using only the comb filters (in parallel) and delays... LFOing ...the comb pitch and the small delay ratio.
If you set them right, you won't get cancellations, the effect is very interesting!

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pdxindy - Fri Dec 02, 2011 2:49 pm

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One technique I like to use is having one osc act as the attack for a comb module and then a second low volume osc with a slow delayed envelop to create some inharmonic resonance (or string buzz). The second osc is also fed into the comb or to a second comb. Using a second comb lets you better control how the sound develops separately from the attack (uses more cpu).

Here is a Tubular bells sound which uses this technique. Also modulated Tone and Flavour to give some nice movement to the inharmonic resonance. I made this sound to demonstrate that Zebra stands right there with modeled instruments like Chromaphone.

http://draigathar.org/sounds/Zebular1.mp3

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Howard - Fri Dec 02, 2011 4:52 pm

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(Edit: never mind)
(Edit again, after the comment immediately below: No, I had posted a Diva tip because I misread the thread title)

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3ee - Fri Dec 02, 2011 5:38 pm

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EDIT: ...never mind either, I guess you where trying to say something about the comb filter's prefill control?!

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JD Gaffe - Fri Dec 02, 2011 7:58 pm

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Whoever resurrected this thread, thank you. I did not know it existed.

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3ee - Fri Dec 02, 2011 10:43 pm

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Paying more attention now once rereading some of your 1st posts within this thread...
..what I've just quoted just makes perfect sense now.

Getting some very nice plucked sounds from the comb filter now, so thank you very much!
Didn't like the Comb filter a couple of months ago, but now.. I think it will be one of my favorite modules!

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pdxindy - Sat Dec 03, 2011 9:32 am

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If you like physical modeling of sounds, the comb modules are your friend!!

Couple more examples using the same technique...

http://draigathar.org/sounds/pluck5.wav

http://draigathar.org/sounds/Stringzz2.wav

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BRoySound - Sat Dec 03, 2011 9:46 am

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Howard, Please Do Share Diva Tips n Tricks...........or better we can make a second thread for that.........

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3ee - Sat Dec 03, 2011 2:17 pm

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2nd thread coming right up!
There you go: http://www.kvraudio.com/forum/viewtopic.php?t=335557

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aaron aardvark - Sat Dec 03, 2011 9:40 pm

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mcnoone,
You've had a lot of impressive free Zebra patches lately. They played a crucial role in a song I completed recently. It'll be quite awhile before I go public with it; it won't happen until I get a copyright on a batch of tunes of mine. Anyway, thank you very much!!

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mcnoone - Sat Dec 03, 2011 11:54 pm

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Great...happy to hear that, and hope I'll get to hear your music soon.

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3ee - Thu Mar 01, 2012 11:53 am

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Zebra superwave with phase reset trick!

How many times did you wanted to get the wave phases spread out while in eleventh mode and with phase reset on ...with no detuning? .. for a metallic digitized sound.

Try this:

-Default patch, osc1 simple saw
-set to eleventh mode, phase reset on
-mod matrix select osc1-detune, and modulate it (max amount) with a micro short MSEG or env (added: no sustain)
- finetune parameters: decay and v-slope curve for the env (or attack knob for the MSEG) to finetune the timbre/character.

-back to the OSC1, fine-tune phase/pw so it's not to boomy or thin (yeah apparently under eleventh mode you get PWM-ish results if modulating phase/pw although the OSC invert is OFF.

Added: ow yeah, almost forgot... turn on osc sync and play with sync tune also .. for a cool oxidized sync sound!
OK, now turn it off again.. cause it's got some artifacts and for regaining the PWM options

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kmonkey - Thu Mar 01, 2012 12:05 pm

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Stunning sound

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j0hnny - Fri Mar 02, 2012 6:53 am

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Thank you to all for sharing your techniques. There are some useful tips and beautiful sounds posted up here.

I have created some tuning files which slightly alter the standard 12tET scale. It puts a nice slant on things and can make Zebra sound like an old out of tune Analog synth.

Is there an easy way to share/post the files on here?

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mcnoone - Fri Mar 02, 2012 7:14 am

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Yes. here.
https://www.box.com/login

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VitaminD - Fri Mar 02, 2012 7:32 am

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Here is a basic tip.. this might be in the manual.. but who reads manuals?

On each base Oscillator, Zebra allows 16 different waveform selections. If you want to make the oscillator morph between two waveforms create waveform1 as you'd like it and jump to waveform16 and create it as you'd like it.

Then right-click on the first waveform and select 'morph.' Zebra will automatically convert all of the waveforms between 1 and 16 to properly morph between them.

You could go another step further and do this in between (say wave1 to wave4, wave5 to wave8, wave9 to wave 12, wave13 to wave16 as example) and have mini morphs.

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j0hnny - Fri Mar 02, 2012 8:31 am

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Ok, posted them here -

http://www.kvraudio.com/forum/viewtopic.php?t=343473

(For the DIVA users too).

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Mplay - Fri Feb 15, 2013 1:06 am

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Very informative thread, thanks

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mcnoone - Mon Mar 18, 2013 7:19 pm

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Zebra tip #38736352
Go here!
http://www.u-he.com/PatchLib/
Zebra free stuff here-
http://www.u-he.com/PatchLib/zebra.html
Commercial soundsets here-
http://www.u-he.com/PatchLib/commercial.html



Thanks to jdoo for the suggestion.

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