One Synth Challenge #150: TAL-NoiseMaker (Aiynzahev wins!)

[neverbeeninariot]

Evenin' - So I decided to take the plunge, this is my first entry for an OSC !

https://soundcloud.com/neverbeeninariot/grubby-dub

Recorded in Bitwig Studio 4, there are 13 instances of Noisemaker, with a couple of instances doubled up for the open/closed hats, and another 2 for the lead sound.
All FX are Bitwig native;
Compressor
Delay-1
Dynamics
EQ+
Peak Limiter
Tool

Cheers

[Aiynzahev]

https://soundcloud.com/aiyn-zahev/aiyn- ... bNK7agZbiz

Ableton Live
51 instances of Noisemaker

Plugins used
Ableton's stock The Glue, EQ8, Autopan, saturator (digital clipping) Multiband Comp & Limiter
Reverbs - TAL Free Reverb, Valhalla Supermassive
Analog obsession Compressor: Fetish
EQ - SSQ, - Rare - PTEq-X
TDR Labs Molotok, Kotelnikov, TDR Nova
Ozone Imager 2

It's so nice to get back to the OSC again. Wish you all the best.

If you want some detail on the process for me I've written out my thoughts:

This was about 2 weeks and 20 iterations. I would start with an idea, and then would see if it made sense to keep going in that direction. Being limited to one synth for everything means some things are going to work better than others. I went through about 5 different ideas and settled once I was feeling the drums. Towards the end I had everything in place around the outsides (the crusts), but I couldn't find the the thing that would bring it all together in the breakdown (the jam). I remembered by first attempt had a cool ringmod bass sound and I had programmed a melody for it (It was going to be something more techno, 4/4 beat) so I went back found the lead and melody and imported into my latest revision, perfect fit. I had some plucks laying around so I hooked them up to the same MIDI.

The hardest parts of this were the Kick and Snare, as in it took a lot of time and tweaking to get them on point. The synths's editable envelope was essential but it still felt like a difficult imprecise process.

The bassline took a long time to settle on. I went through a lot of revisions and in the end just had to try out odd things and explore. I couldn't keep the track interesting staying on one note, but modulating to different keys forced a more melodic track than I wanted. It probably sounds silly to instrument players, but since I don't play an instrument I don't naturally just come up with riffs and grooves, especially not basslines. In dance music basslines are often more straight forward and just pad the melody.

Keeping all the levels balanced wasn't too hard once I locked in the balances for the drum & bass parts. It helps a lot to use a nice EQ, the majority of it ended up being the SSQ, an SSL style EQ from Analog Obsession.

The kick is 3 parts, the tiny top click is what makes the kick sound clicky, the TDR Kotelnikov accentuates it really nicely and provides a nice snap.

TDR Nova steps in when the kick or snare get too strong. Just a couple of dB.

One last note, enabling the chorus on TAL but collapsing it to mono afterwards was a big part of getting the balance I wanted. It adds richness but stops it from being wildly out of control in the sides. There's something early 90's and cool about mono tracks too. I definitely nearly gave up a few times early one, but I really wanted to join an OSC.

[tehlord]

https://soundcloud.com/aiyn-zahev/aiyn- ... bNK7agZbiz

So what will you choose as a prize after you win?

[ThePresent]

https://soundcloud.com/aiyn-zahev/aiyn- ... bNK7agZbiz

So what will you choose as a prize after you win?

I think he could appreciate this prize

Aiyn Zahev Sounds: Any 2 Soundsets of choice from the website (Uplifting Trance Presets)

[doctorbob]

dB

[] Peter:H []

+++ Submission: I ༶ A ༶ M +++
https://soundcloud.com/p-e-t-e-r-h/i-a-m/s-VNeJFx0SN6W

update 26.08.2021 - The cut down challenge version. cut the speech instruments.

---
The title is program - I'am and I did lot's of AM... amplitude modulation. Not telling long boring stories here. Okay may be only one or two...
I have used note-tuned audible range modulation on pan... what does that mean. If I play note E for instance my pan modulation is well in the audible range but it's tuned to a E note as well. I've used Bitwigs instrument layers and one layer per note family (i.e. all E's), layers which have their pan modulation frequency tuned to their note family... that means as well that each layer has to be able to only receive notes of it's family ... I wrote a little LUA code in Protoplug to be able to do this, see: viewtopic.php?p=8185504#p8185504. Not the best code to be honest and obviously not the only way to do it, but this way I have learned a bit of Lua programming language...
A second story: I wrote java code to be able to come up with spline points in the MSEG. My javacode emits textual representation of spline points. I used the output of my java progi and copy pasted it into the .talnoisemaker text-based patch files. I've used that to do Amplitude modulation as well... kind of weird the MSEG has only positive values. Anyway: If you feel that it's absuing a MSEG and this is against the OSC rulez ... then I will remove my track from the challenge. I can't help to explore synths like in a sence of a demo scene...

DAW: Bitwig 4.0.1
Plugins: Bitwigs, mostly dynamics, Delays and EQ. MeldaProduction MTremolo, Valhalla Supermassive
I think it's 20-30 instances of TNM. Some just cloned for easier mixing. Some just cloned for lack of "tuned" lfos (see wall of text above), Protoplug with my own LUA code to filter notes.

[ELEX]

If you feel that it's absuing a MSEG and this is against the OSC rulez ... then I will remove my track from the challenge. I can't help to explore synths like in a sence of a demo scene...

By way of opinion:
1. The use of a program to aid the programming of the MSEG is by itself not against any rule. I can see how it can be very helpful.
2. The 'Zombie' patch in particular is a clear case of sampling and as such not permitted. I also believe that importing the results of any wave generator should be viewed as sampling. No offence intended.
3. I think the track sounds very good.

In general, on the subject of sampling: the only interpretation of the rules that, to me, makes sense in this context, and leaves little grey areas, if any, would be:

Capturing any external wave generator in any format, regardless of frequency content, and importing the results into an instrument constitutes sampling.

[Tj Shredder]

You can synthesize speech without sampling. I am not sure if peter sampled the words, he just loves to apply these things and I appreciate his efforts in this area. Its a bit like drawing vs. photograph. You can draw realistically and its still drawing or you can treat a photo and it isn‘t drawing…

[Taron]

Guess the beef is about the involvement of external tools. I remember, in Thorn and Zebralette (I think), I was literally drawing waveforms, inspired by actual samples, examining the nature of the wave like on bass piano wires, or from voice samples that I studied one by one for a set of notes to isolate the characteristics. It was extremely similar to the samples, but it wasn't generated elsewhere.
Now, I see the importance of keeping the spirit of the OSC clean and avoid dangerous precedence. Probably a good idea to ensure this is kept. ...still think Peter does some wicked stuff!

[Tj Shredder]

There would be two different „spirits“. The radical one without allowing „external“ tools is hard to realize, as we use controllers, and DAWs with their tools as well. If I create Midi and automation externally and then simply record it with my DAW this is within the rules.
I once created sung and spoken words in UPIC, which was way more simple as I imagined. It really was like painting.
But of course we must not do modulation in audio rate with frequency content in the hearing range unless that happens within the synth itself. As that is the case here, I vote for allowing it. I want to have Peters creations in the collection. Its his own responsibility to draw the line…

[ELEX]

You can synthesize speech without sampling. I am not sure if peter sampled the words, he just loves to apply these things and I appreciate his efforts in this area. Its a bit like drawing vs. photograph. You can draw realistically and its still drawing or you can treat a photo and it isn‘t drawing…

It's sampling alright. See quote below. The format really does not matter.

... a patch that can "nearly say" zombie if you listen carefully. It's not a sample. It's just a excel sheet of numbers (okay - one that I have extracted from wavosaur, but actually only a textfile with numbers between -1 and 1 , that I have loaded into my java programm and emittted splinepoints.

[ELEX]

Guess the beef is about the involvement of external tools. I remember, in Thorn and Zebralette (I think), I was literally drawing waveforms, inspired by actual samples, examining the nature of the wave like on bass piano wires, or from voice samples that I studied one by one for a set of notes to isolate the characteristics. It was extremely similar to the samples, but it wasn't generated elsewhere.
Now, I see the importance of keeping the spirit of the OSC clean and avoid dangerous precedence. Probably a good idea to ensure this is kept. ...still think Peter does some wicked stuff!

It is about external tools ( that are not MIDI ) indeed, and the specifically the sampling of those. If one writes an external generator and captures the output, that's sampling. No two way about it. Doesn't matter if it's .txt or .wav, played back or used as mod source. Btw, there is no 'beef' regarding the subject of sampling/external tools. Only a difference of opinion. Any and all friction was caused by the way the subject was initially introduced, not the subject itself. And Peter is most capable of wicked stuff, no disagreement there.

[Eauson]

Here is my entry for this month
I’ve not had much time recently to make noise
Thought I’d try something with noise maker
It’s a bit ruff sounding & not quite there in terms of mix and flow

https://soundcloud.com/eauson/tal-noisemaker-kvr-osc

Details

30 Noisemaker
Dc filter, acceleration2, mackity, infrasonic, surge tide, track control , buttercomp, loudmax, Youlean, span
ReEq, verbity, Varimu, blockfish, frontdaw, capacitor2, subsonly, Gaussian humanisation, block party , xhighpass, xbandpass , mautopan, reagate,

[AirToast]

Hi everyone,

here's my entry for this month's challenge. I was kind of inspired by the soundtrack of Half-Life and Portal. It's nothing super complex, but at least I had some fun making the track. I hope you like it

https://soundcloud.com/airtoast/another ... le-crystal

DAW: Reaper 6.34
31x TAL-NoiseMaker

FX:
- 1x 1175 Compressor (JS)
- 1x AutoPan (Airwindows)
- 2x BitShiftGain (Airwindows)
- 1x Capacitor (Airwindows)
- 2x Channel9 (Airwindows)
- 2x CStrip (Airwindows)
- 1x Galactic (Airwindows)
- 1x Highpass2 (Airwindows)
- 1x Infrasonic (Airwindows)
- 3x Interstage (Airwindows)
- 1x MIDI Transpose Notes (JS)
- 1x MSaturator (MeldaProduction)
- 2x MSED (Voxengo)
- 3x OTT (Xfer Records)
- 1x Ping Pong Pan (JS)
- 6x PurestGain (Airwindows)
- 16x ReaEQ (Cockos)
- 2x ReaGate (Cockos)
- 1x Reverb (Airwindows)
- 4x Saturation (JS)
- 12x Slew3 (Airwindows)
- 3x Sound Delay (Voxengo)
- 1x TDR Kotelnikov (Tokyo Dawn Labs)
- 1x TDR Molotok (Tokyo Dawn Labs)
- 2x TDR Nova (Tokyo Dawn Labs)
- 14x TDR VOS SlickEQ (Tokyo Dawn Labs)
- 1x Tempo Delay (Voxengo)
- 2x Ultrasonic (Airwindows)
- 1x Waveshaping Distortion (JS)
- 1x XBandpass (Airwindows)
- 1x XLowpass (Airwindows)

[Impedance Music]

Hey everyone,

So here is my submission - and it is the fourth abomination in my reverse-telled-fictious-videogame-ost-series (trademark). I´m really glad that no one knows that in first place i didn´t even had a story for it - until now...

I used 53 Instances of TAL Noisemaker, I have no idea why my PC didn´t catch on fire .
As a little addition - You can find my Presets Attached to this post. Feel free to use them for anything you want -
I just can´t recommend using them for baking - it probably won´t work.

https://soundcloud.com/impedancemusic/e ... simulation

Okay now some technical stuff:
Instances: 53
DAW: FL Studio 20
BPM: 139
Key: Lost Somewhere

FX (DAW)
Fruity Parametric EQ2, Fruity Stereo Enhancer, Fruity Delay 2, Fruity Delay 3, Fruity Limiter, Fruity Reeverb 2, Fruity Convolver, Maximus

FX (3rd Party)
Xfer OTT, Youlean Loudness Meter 2, TAL Reverb 2, TAL Reverb 4, MeldaProduction MSaturator, Analog Obsession Lovend, Analog Obsession Sweet Drums