KVR Audio

Liero · Post by **Liero** » Wed Jun 22, 2011 8:59 am

I appreciate the fact that andy would rather have awesome sound than sacrifice at the altar of CPU efficiency. Computers are quickly becoming ridiculously powerful and I'd rather have little efficiency and great sound rather than the other way around. The CPU efficient market has already been served. The wavearts saturator is another great example of really great sound that (as I understood it) was only possible because the devs went for a modelling technique which was very heavy on the CPU. Of course it's not impossible to have both but as I said, there seem to be more accurate ways to tackle modeling that have previously been left unused because they were too CPU intensive.

Shy · Post by **Shy** » Wed Jun 22, 2011 9:37 am

CPU intensive doesn't mean CPU inefficient. It's probably very efficient.

AgiKvr · Post by **AgiKvr** » Mon Aug 08, 2011 11:01 pm

Hi Andy!
The Drop is very very good to my ears!Any news about it?
Last session The Glue told me he feels alone...he wants a little brother!

valhallasound · Post by **valhallasound** » Tue Aug 09, 2011 1:50 am

Hey Andy,

Do you own a Korg Monotron? This is a cheap way of having a real Korg-35 style filter on hand. The Monotron's filter SCREAMS. Noisy, but man, what a sound.

You should also check out some 1970's Moogs, before the current generation. I don't know what is going on in the latest boxes, but the Moogerfooger LPF I own has a lot of LM13600s in there, and you will want to hear something that has a simpler audio path.

Looking forward to this filter.

Sean Costello

andy-cytomic · Post by **andy-cytomic** » Tue Aug 09, 2011 7:16 am

Yes I do own a monotron, and I am also going to get an MS-20 to check against that as well, since the newer surface mount components in the monotron will have completely different tolerances and lead to a slightly different sound. The monotron is a "rev1" filter, which has twin diode distortion in the signal path at all times, the rev2 has the diodes in the more traditional place, the feedback path. I will have a mode for each, since sometimes you want one or the other, and I can do the same thing for other circuit models where possible.

I've also nearly finished working on the bandlimited lfo/osc/envelope generators, so some new completely The Drop audio examples are on the way showing them off. Even if some envelopes are generated at audio rate in some products, I am not aware of any that are properly bandlimited, and this makes a big difference to sound quality for fast envelope times, since it more accurately models what happens in a continuous time analog circuit.

Bronto Scorpio · Post by **Bronto Scorpio** » Tue Aug 09, 2011 7:25 am

Sounds interesting

I can't wait for some examples!

Cheers
Dennis

risome · Post by **risome** » Tue Aug 09, 2011 7:50 am

Uhbik Runciter and Andys Glue will make an awesome trio with the Drop

mystran · Post by **mystran** » Tue Aug 09, 2011 11:39 am

andy_cytomic wrote: I've also nearly finished working on the bandlimited lfo/osc/envelope generators, so some new completely The Drop audio examples are on the way showing them off. Even if some envelopes are generated at audio rate in some products, I am not aware of any that are properly bandlimited, and this makes a big difference to sound quality for fast envelope times, since it more accurately models what happens in a continuous time analog circuit.

I haven't tried proper band-limitation of envelopes (should bother working out the math of how to this efficiently for piece-wise exponential envelopes) but semi-recently I wrote a small proto-synth where everything runs 2x oversampled (so 88.2kHz for my setup) and I'd kinda agree the difference is certainly noticeable (I also had a version where just the audio path gets oversampled so comparing against that).

andy-cytomic · Post by **andy-cytomic** » Wed Aug 10, 2011 5:25 pm

Here is an example of properly bandlimited modulation, where the lfo has a variable triangle to saw shape, with independent control of the variable exponential to inverse exponential curve on each edge. The difference in sound is most easily heard when the rate is high, everything is completely smooth, but it also makes a difference on sharp edges at slower speeds, which also sound extra liquid and plippy:

www.cytomic.com/files/thedrop-modosc1.mp3

dusted william · Post by **dusted william** » Wed Aug 10, 2011 5:33 pm

That was awesome!

dw

andy-cytomic · Post by **andy-cytomic** » Wed Aug 10, 2011 5:41 pm

Thanks! Sorry it's not in a musical context, this is just me twiddling knobs to put it through its paces to give people an idea of what it sounds like when pushed.

PS: the sawlike input signal is actually another copy of The Drop outputting its lfo as audio.

dusted william · Post by **dusted william** » Wed Aug 10, 2011 5:48 pm

Nice:D

I was wondering what the source of that saw was.

dw

AgiKvr · Post by **AgiKvr** » Wed Aug 10, 2011 5:58 pm

I am very glad I woke up this topic!The last sound example is great!(very musical)
Can I ask you the release date? Still December?

Bronto Scorpio · Post by **Bronto Scorpio** » Wed Aug 10, 2011 6:15 pm

andy_cytomic wrote:Here is an example of properly bandlimited modulation, where the lfo has a variable triangle to saw shape, with independent control of the variable exponential to inverse exponential curve on each edge. The difference in sound is most easily heard when the rate is high, everything is completely smooth, but it also makes a difference on sharp edges at slower speeds, which also sound extra liquid and plippy:

www.cytomic.com/files/thedrop-modosc1.mp3

The audio rate modulation sounds great! I especially like the squeaking door at 2:11

Cheers
Dennis

penguinfromdeep · Post by **penguinfromdeep** » Wed Aug 10, 2011 6:17 pm

Wowoww!! Andy is raising the bar for sure! Can't waitttt, damn!

Cytomic "The Drop" Resonant Filter