l.a. confidential (refers to the smoke, not to whatever i ripped the tom line from)
http://www.xoxos.net/vst/mp3/bongLAC.mp3
this uses the novel (non emulation) sn1 alg (alg #4, or 7th counting through).
need a jamaican apart from blue and lambsbread.. trying to find the best fit for a newcleus ("jam on it") patch.
my email is being decrepit, i'll have to log into paypal. gimme 10 minutes to wipe the forums so i don't lose my "read" markers.
bong vst
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- 12367 posts since 30 Apr, 2002 from i might peeramid
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- 12367 posts since 30 Apr, 2002 from i might peeramid
paypal completely failed at sending me notifications 
sent... (edit: yes, it looks like the email actually went somewhere......)
things that may change.. atm the recallable and continuous noise sources use linear crossfading, which is efficient, but in use it needs equal power, in case someone wants to automate variation. that's going to change.
how does the # of outputs work for you? (in my host they all appear, which is cumbersome, i doubt i'd use more than 4).
sent... (edit: yes, it looks like the email actually went somewhere......)
things that may change.. atm the recallable and continuous noise sources use linear crossfading, which is efficient, but in use it needs equal power, in case someone wants to automate variation. that's going to change.
how does the # of outputs work for you? (in my host they all appear, which is cumbersome, i doubt i'd use more than 4).
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- KVRist
- 455 posts since 31 May, 2013 from Space is the Place
I quite like the amount of outs, it gives much flexibility.xoxos wrote:how does the # of outputs work for you? (in my host they all appear, which is cumbersome, i doubt i'd use more than 4).
In Reaper I can also choose to use a single stereo output when loading the plugin, which I often do.
I like the number of outs now, but if there were less, and I really needed more, I'd split duties across 2 or more instances.
P.s. I love Bong, it is awesome
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- 12367 posts since 30 Apr, 2002 from i might peeramid
ty, ppl have been requesting all-in-one percussion for years, i prefer the multiple instances workflow.
anything need more volume? hats?
ftr what the note about changing "vary" to equal power means is that the noise source will be slightly louder with vary at median settings (low and high will be the same) - if you're patching now for later, go on the low side. trying to spend some meaningful time with it before any changes/next beta.
single timbre vsts are much easier to patch.. you make a bunch of patches, you organise them. here, they should complement each other. good patches are necessary for a good end user impression, and at the moment when i hear sounds i may still be focusing on minutiae, so time intensive process.
http://www.xoxos.net/vst/mp3/bong/bongoriginalhaze.mp3
http://www.xoxos.net/vst/mp3/bong/bongbarneyslsd.mp3
http://www.xoxos.net/vst/mp3/bong/bongdurbanpoison.mp3
http://www.xoxos.net/vst/mp3/bong/bongkandykush.mp3
i think the OH demo is the only one that approaches musicality.. it would probably be a good idea to shelve the whole product until i have enough weed to do a decent job of it. in the interim i'll share these less inspired demos with my faithful reader
the DP demo uses the same snare alg as LAC..
tbh i'm not sure that anyone has recorded anything with shakers (or synth toms) for a couple decades apart from vst demos..
anything need more volume? hats?
ftr what the note about changing "vary" to equal power means is that the noise source will be slightly louder with vary at median settings (low and high will be the same) - if you're patching now for later, go on the low side. trying to spend some meaningful time with it before any changes/next beta.
single timbre vsts are much easier to patch.. you make a bunch of patches, you organise them. here, they should complement each other. good patches are necessary for a good end user impression, and at the moment when i hear sounds i may still be focusing on minutiae, so time intensive process.
http://www.xoxos.net/vst/mp3/bong/bongoriginalhaze.mp3
http://www.xoxos.net/vst/mp3/bong/bongbarneyslsd.mp3
http://www.xoxos.net/vst/mp3/bong/bongdurbanpoison.mp3
http://www.xoxos.net/vst/mp3/bong/bongkandykush.mp3
i think the OH demo is the only one that approaches musicality.. it would probably be a good idea to shelve the whole product until i have enough weed to do a decent job of it. in the interim i'll share these less inspired demos with my faithful reader
the DP demo uses the same snare alg as LAC..tbh i'm not sure that anyone has recorded anything with shakers (or synth toms) for a couple decades apart from vst demos..
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- Banned
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- 12367 posts since 30 Apr, 2002 from i might peeramid
given the thread view count (it's being artificially increased by some means) i'll do a new post instead of editing the last one:
i've been prompted to clarify - this product has not been released yet. it's not time to appraise it. the mp3s being posted are not demonstrative of the range of this instrument. i'm still putting "demonstrative" together and have a ways to go before "conventional" is represented. eg. the kick and snare1 both have 8 algorithms. you have not started to hear what bong is and isn't yet. don't be all like "yawn heard it beefore" because you heard two mp3s so far.
ie. after several weeks of tests patching conventional sounds, i find myself avoiding my own conventions at this stage.. eg. consider kick pitch envelopes.. slow envelopes have a wumph that lacks bass but sounds energetic for happy hardcore et c. having listened to this a lot for a while now, i may subconsciously avoid patching that kind of kick pitch envelope for a time, so preliminary mp3s aren't the whole story.
(it's being artificially increased by some means) i'll do a new post instead of editing the last one:i've been prompted to clarify - this product has not been released yet. it's not time to appraise it. the mp3s being posted are not demonstrative of the range of this instrument. i'm still putting "demonstrative" together and have a ways to go before "conventional" is represented. eg. the kick and snare1 both have 8 algorithms. you have not started to hear what bong is and isn't yet. don't be all like "yawn heard it beefore" because you heard two mp3s so far.
ie. after several weeks of tests patching conventional sounds, i find myself avoiding my own conventions at this stage.. eg. consider kick pitch envelopes.. slow envelopes have a wumph that lacks bass but sounds energetic for happy hardcore et c. having listened to this a lot for a while now, i may subconsciously avoid patching that kind of kick pitch envelope for a time, so preliminary mp3s aren't the whole story.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- KVRAF
- 10136 posts since 16 Dec, 2002
Im following the thread, nothing to say yet 
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- 12367 posts since 30 Apr, 2002 from i might peeramid
http://www.xoxos.net/vst/mp3/bong/bongchemdawg.mp3
this may be a more informative demo. i used the more tonal algorithms for this kit (including the "bassy snare" mode). in the first half the patch is relatively conventional. the second half is the same models/patch with a few parameters adjusted for more overt tonality.
still, the kick and tom tone is around 40% there, you can tone straight into flab. (it made sense when i started writing it).
this may be a more informative demo. i used the more tonal algorithms for this kit (including the "bassy snare" mode). in the first half the patch is relatively conventional. the second half is the same models/patch with a few parameters adjusted for more overt tonality.
still, the kick and tom tone is around 40% there, you can tone straight into flab. (it made sense when i started writing it).
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- KVRAF
- 1924 posts since 24 Apr, 2010
We follow in silence, looking for a lead.xoxos wrote:given the thread view count
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- KVRAF
- 10136 posts since 16 Dec, 2002
I can hear Snoop rapping over this with a minimal dirty basslinexoxos wrote:l.a. confidential (refers to the smoke, not to whatever i ripped the tom line from)
http://www.xoxos.net/vst/mp3/bongLAC.mp3
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- Banned
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- 12367 posts since 30 Apr, 2002 from i might peeramid
the manual is pretty much complete. this one is glaringly uninformative.. i've decided to forego the statement of the obvious ("algorithms are not associated with machines because i have no desire to defend myself from arguments about the accuracy of emulation, and generally "inspired by" is a more accurate description of the process anyway.) so if i can't say "this kick is similar to the highly coveted mj9000" the best i can do is say "explore the options" which i hope i never would have to say.
think i want a break from percussion next
then after that, if this is popular, it may be prudent to release "sunova bong" ("your new bong") and use nonstandard algorithms (like the mass-spring drums) with a more modular implementation.
a few more patches and adjustments, we'll go to beta from alpha, maybe run it for a week there before release in case someone else feels like being better at patching than i.
changed the gui, changed it again.. blended colours on the title bars is all. subtle as it is intended to complement heightened sensitivity to colours..
think i want a break from percussion next
then after that, if this is popular, it may be prudent to release "sunova bong" ("your new bong") and use nonstandard algorithms (like the mass-spring drums) with a more modular implementation.a few more patches and adjustments, we'll go to beta from alpha, maybe run it for a week there before release in case someone else feels like being better at patching than i.
changed the gui, changed it again.. blended colours on the title bars is all. subtle as it is intended to complement heightened sensitivity to colours..
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- 12367 posts since 30 Apr, 2002 from i might peeramid
unless i get a 2nd wind, it looks like 32 patches. perhaps i'll do more with only a single instrument adjusted. the beta should be out by the w/e.
users: decays long/short enough for you and such?
in patching, the first thing i try to do with the params i should be doing in post is to eq the hats, as the hp, which also adjusts amplitude, is more like an overall spectral balance. the clap and snare filters also have fairly wide tonal influence.
are you doing alright with mute and solo only on your host channels. when composing demos as loops, i've wanted mute and solo, but my normal way of working is to copy and edit sequences.
any vital information you'd like presented in the manual (eg. comparison of pitches or decay ranges between algorithms..) or we can make do with sussing each out by sound.
users: decays long/short enough for you and such?
in patching, the first thing i try to do with the params i should be doing in post is to eq the hats, as the hp, which also adjusts amplitude, is more like an overall spectral balance. the clap and snare filters also have fairly wide tonal influence.
are you doing alright with mute and solo only on your host channels. when composing demos as loops, i've wanted mute and solo, but my normal way of working is to copy and edit sequences.
any vital information you'd like presented in the manual (eg. comparison of pitches or decay ranges between algorithms..) or we can make do with sussing each out by sound.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- Banned
- Topic Starter
- 12367 posts since 30 Apr, 2002 from i might peeramid
beta sent out last night, check your spam folder if you didn't see it as the message subject field was blank.
pretty much patches, gui, fixed the amp response of the "vary" param. probably the 1.0 unless we change our minds.
pretty much patches, gui, fixed the amp response of the "vary" param. probably the 1.0 unless we change our minds.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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- KVRAF
- 3506 posts since 27 Dec, 2002 from North East England
Beta received. Many thanks.
Quick question about one of the sounds in there. The hats mapped to F#, G# and A#. F# and G# are closed while A# is open. Was wondering why there are two closed hats and what the difference is between them, as they exhibit some intriguing behaviour. Triggering F# and G# in close succession triggers an open hat with the decay properties of the last sounded open hat (regardless of where the open hat decay knob is). For instance, if you trigger an open hat with a long decay by hitting A#, then continually trigger an open hat via the F#-G# jump, it'll continue to have a long decay no matter what you do with the open hat decay knob. Once you've sounded the open hat with A#, the F#-G# juggle will produce an open hat with the 'correct' decay value. Juggling G#-F# doesn't trigger anything on the other hand. Any hints to give on why there are two closed hats and/or techniques this enables? I figured it'd be pretty cool for bashing out fast hi-hat rhythms on the keyboard with 2 hands until I clicked something was going on with the open hat in there.
The presets are great. Loads of inspiration for new sounds. Slow attack reverb-claps! Very nice.
Quick question about one of the sounds in there. The hats mapped to F#, G# and A#. F# and G# are closed while A# is open. Was wondering why there are two closed hats and what the difference is between them, as they exhibit some intriguing behaviour. Triggering F# and G# in close succession triggers an open hat with the decay properties of the last sounded open hat (regardless of where the open hat decay knob is). For instance, if you trigger an open hat with a long decay by hitting A#, then continually trigger an open hat via the F#-G# jump, it'll continue to have a long decay no matter what you do with the open hat decay knob. Once you've sounded the open hat with A#, the F#-G# juggle will produce an open hat with the 'correct' decay value. Juggling G#-F# doesn't trigger anything on the other hand. Any hints to give on why there are two closed hats and/or techniques this enables? I figured it'd be pretty cool for bashing out fast hi-hat rhythms on the keyboard with 2 hands until I clicked something was going on with the open hat in there.
The presets are great. Loads of inspiration for new sounds. Slow attack reverb-claps! Very nice.
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- KVRAF
- 10136 posts since 16 Dec, 2002
To me it seems only one of the open hats gets cut off by the closed hats
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- 12367 posts since 30 Apr, 2002 from i might peeramid
technically there's only CH and OH on F# and A#. pedal hat is in there because of GM mapping and that my dr110 exhibits the same behaviour: pedal hat is triggered by playing F# and A# at the same time (which is what triggering G# actually does). so you can trigger the PH using either method.
it's not a true pedal because it's possible to have a shorter OH decay than CH decay, so PH triggers a CH with 2x the decay time. which may make it sound like an OH, depending on the algorithm contour. i thought this was a solution to what i wanted to avoid.. if the PH decay were truly an average of the CH and OH it would have to be recomputed every time either was adjusted, and the decay time calcs are fairly intensive (one or two pows).
i haven't noticed that a true OH was triggered using F# and G#, it could have something to do with the drum trigger module if so. will look into it, if it's not useful this way i can make PH a discrete/real trigger instead of a cheapo trigger.
i do know the implementation does has a velocity "bug" - iirc, it's something like PH will use the velocity value from the last CH trigger if the note before it was an OH.. or something like that. easy fix, i figured the triviality of it wasn't worth adding an extra IF statement.
claps.. one of the first times i used the vst i had the impression (as noted) that the attack was too slow. i went back over it and for some reason didn't have the same impression. the trigger part runs ~32 to ~36ms and the hall should switch to decay stage at 40ms. when i had the initial impression i was using very high filter cutoffs, i must have acclimatised. sould get more feedback on this soon..
it's not a true pedal because it's possible to have a shorter OH decay than CH decay, so PH triggers a CH with 2x the decay time. which may make it sound like an OH, depending on the algorithm contour. i thought this was a solution to what i wanted to avoid.. if the PH decay were truly an average of the CH and OH it would have to be recomputed every time either was adjusted, and the decay time calcs are fairly intensive (one or two pows).
i haven't noticed that a true OH was triggered using F# and G#, it could have something to do with the drum trigger module if so. will look into it, if it's not useful this way i can make PH a discrete/real trigger instead of a cheapo trigger.
i do know the implementation does has a velocity "bug" - iirc, it's something like PH will use the velocity value from the last CH trigger if the note before it was an OH.. or something like that. easy fix, i figured the triviality of it wasn't worth adding an extra IF statement.
claps.. one of the first times i used the vst i had the impression (as noted) that the attack was too slow. i went back over it and for some reason didn't have the same impression. the trigger part runs ~32 to ~36ms and the hall should switch to decay stage at 40ms. when i had the initial impression i was using very high filter cutoffs, i must have acclimatised. sould get more feedback on this soon..
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.