Presently enjoying an audition stasis point in the 'Drones' folder, somewhere between Ben Frost and Gorecki?
Beautiful job on this second installment Simon, thanks
Thanks for the feedback, Chris. A good read on my Sunday morning!Loopy C wrote:Beyond polished and clever, beyond refined…there is that realm of experimental sound design that just plain blows your mind....transporting you across those moments of listening to the history of electronic music that continue to inspire in the present moment.
Presently enjoying an audition stasis point in the 'Drones' folder, somewhere between Ben Frost and Gorecki?
Beautiful job on this second installment Simon, thanks

https://soundcloud.com/sampleconstruct/ ... s-the-hangA long processed Hang scape exciting the resonators in the pluck oscillator, sample start is randomized. In a 2nd multi-granular oscillator there is a Hang tremolo texture played with hands on all pitches of the instrument, control it's volume with the assigned Macro, grain speed/position are randomized.
Pluck osc is set to inharmonic/sustain/stretch mode, control the decay of the resonances and modulation of the stretch parameter via LFO with the assigned Macros. MW decouples the two strings, creating RM-like effects and randomizes grain pitch in OSC2. Tune string two up a perfect fifth/octave with a Macro (scaled via mapper).
More Macros let you dial in tempo-synced LP filter cutoff/resonance/drive modulation, Thorus/delay/reverb/limiter FX.
15 Macros and 2 switches are assigned.
Wave-tabled/spectralized rubber-ball Hang textures running in multi-granular mode with zone crossfades between A#2 - G3 , two pitches were sampled at C1/C3, mapped one octave higher in Falcon (C3 sounds C2).
Granular controls for speed/perforation/position (also via AT) are installed, MW randomizes grain pitch. An analog LP filter has a cutoff control, with the cutoff Macro dialed to the left, slow, tempo-synced filter modulation can be engaged with another Macro.
In a 2nd layer there is an analog stack drone with PWM and filter modulation (on layer level), control overall volume and volume of the sub-oscillator (OSC4) with 2 Macros. More controls for Thorus/delay/reverb/limiter FX are available. 15 Macros and an on/off-switch for the limiter are installed.
I'll make a chromatic patch next, also adding round robin bass/sub samples from the backside of the instrument. Then there is the finger articulation to cut and edit (also 270 samples).Multi-sampled Hang played with a hard felt mallet, all 9 pitches were sampled at 5 velocity layers / 6x round robin (270 samples are used in this patch - wav 48Khz/24 Bit/stereo - recorded in L-C-R with 3 Neumann microphones, all signals are phase-aligned). As the original tuning of the Hang deviates somewhat from the normal tempered tuning (between 17 and 42 cents above tempered tuning -> 440Hz) you can dial in tempered tuning with a Macro, dialed hard right all pitches are 100% tempered. Only the 9 original pitches are mapped in this patch.
Two key-switches let you select the round robin mode, KS1 located at C0 selects cycle round robin (all 6 samples in a chain are played consecutively), KS2 at D0 selects random cycle round robin (Each oscillator will always be triggered once per cycle. Additionally, the first note of a cycle will never be the same as the last note of the previous cycle, so there won’t be any direct repeats).
20+ Macros are available for full ADSR control, panning randomization per note, EQ with 3 bands, Thorus/delay/convolution/algorithmic reverb/compressor/maximizer. MW adds pitch randomization per note.
https://soundcloud.com/sampleconstruct/ ... ngles-hangHitting the backside of the Hang with the flat hand, sampled with 9x round robin. Tuning is set to quarter tones (key follow -> 50%) so two octaves on the keyboard equal one octave in actual pitch change.
Randomize pitch, engage a velocity sensitive LP filter, add distortion (Diode Clipper) with the assigned Macros. More controls for attack/release/EQ/delay/convolution reverb/Maximizer FX are available.
MW decreases sustain level, so velocity sensitive decay becomes active. PB is set to -/+ 2 octaves.
13 Macros and 2 switches are installed.
https://soundcloud.com/sampleconstruct/ ... ngles-hangThe lower three velocity layers from the mallet Hang, sampled at 6x round robin, layered with an FM synth in L2, running in unison mode (2 voices) with unison stereo spread and a bit of randomized unison detune. The FM synth has a dedicated volume control.
A velocity sensitive waveshaper can be dialed in in the Hang layer, sustain/release for the Hang sound can be controlled with 2 Macros, more Macros are available for compressor/Thorus/delay/reverb/Maximizer FX.
11 Macros and 2 switches are installed.
The other sounds in the background come from a split patch with two processed Hang scapes, one of them running in granular mode.Cave Hang
Multi-sampled, spectrally re-synthesized and stretched mallet Hang accents sampled at 8 pitches between G1 – F#5, the tails are looped, the sample zones are crossfading, a velocity sensitive LP filter in L1 can be dialed in with a Macro. In L2 there is a stereo noise oscillator processed by a tuned bandpass filter, wave-shaper distortion can be dialed in, the noise synth has a dedicated volume control. MW adds tempo-synced, square-shaped pitch/filter/pan modulation in both layers, +1 octave with the wheel fully engaged. Full ADSR controls and a Macros for velocity sensitivity and sample start control via VEL are available, Thorus FX can be added to the Hang layer, there are more controls for Phasor/delay/reverb/limiter FX.
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