+1Bathrobe wrote:What would FSU stand for?
I vote for Nasty. You yourself mention it several times
Cytomic "The Drop" Resonant Filter
-
- KVRAF
- Topic Starter
- 2819 posts since 3 Dec, 2008
Nasty does work: LP Nasty 100%
Any other ideas? The fewer letters the better, while still being emotive.
Any other ideas? The fewer letters the better, while still being emotive.
The Glue, The Drop, The Scream - www.cytomic.com
-
- KVRAF
- Topic Starter
- 2819 posts since 3 Dec, 2008
I think my problem with Nasty is it's an adjective, what I really need is a noun or verb. Nastiness is the noun, but it's too long. I need it to be indicative of bad stuff happening, clipping and possibly increased aliasing (although I will do my best to keep this to a minimum).
Ok, I just ran through a bunch of terms like Filth, Mangle, Tear, and ended up with:
Shred
That has a nice clipped and ruined sort of tone to it, but also has positive connotation of guitarists going crazy, what do you think?
Ok, I just ran through a bunch of terms like Filth, Mangle, Tear, and ended up with:
Shred
That has a nice clipped and ruined sort of tone to it, but also has positive connotation of guitarists going crazy, what do you think?
The Glue, The Drop, The Scream - www.cytomic.com
-
- KVRist
- 238 posts since 3 Apr, 2016
-
- KVRAF
- 6466 posts since 18 Jul, 2008 from New York
Suggested names - Crunch, Distort, Overload. I think Overload is the best but maybe too long.
-
comfortablynick comfortablynick https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=358558 - KVRist
- 338 posts since 15 May, 2015
I like Shred, Push, Smack, Break, Nail, Thrust...
-
- KVRist
- 75 posts since 21 Nov, 2002 from los angeles
Andy - I've never reached out to thank you for all the great work. Thanks a million. The Drop and the filters and Glue in live get a lot of use here and have done wonders to enable me to be able to work "in the box," which I love.
My last Out Of the Box equipment is a pair of Sherman Filterbanks, a v1 and a v2, that I've had for a very long time. I prefer using The Drop 100x to the Filterbanks but there is a signature sound I can get using them that I cannot easily get from The Drop and I wonder if you'd have interest in the feature as a possible addition to The Drop. The implementation would be two changes to The Drop. I present this to you just in case you are interested and with total respect for what you have created.
The Filterbanks have two multimode filters that you can link, Herman calls it "sync." When you link the filter cutoff frequencies you have a control called "Harmonics" that manages the offset. The thing that is great about this knob is that it is stepped, not free. So if you set the harmonic knob to "Free" both your cutoff freq knobs are independent, but then you can set it to other settings: 1, 1.5, 2, 3, 4, 5, 6, 7, 8, 9, 16. These slave the second frequency to the first with harmonic offsets: 1 = same freq, 1.5 = 1 fifth down, 2 = 1 octane down, 3 = 1 octave and a fifth down, etc. (you can look at page 12 of the manual here: http://www.sherman.be/index.php/support/downloads )
I've programed some things (poorly) in Max4Live and Reaktor and TouchOSC over the years to give me this ability with The Drop and Volcano and Live's built in filters, but it's never quite right and it is far from easy to keep things working when controlling VST plugins.
But, here's the thing: the effect is very, very musical. My normal use is this: I play my guitar DI into the computer, process it with EQ and compression and a long-tail reverb and then run it into my Sherman with both filters set to LPF, low resonance on the first filter, the second filter set to one of these harmonic offsets (3 and 6 are nice) and the second filter also set to LPF with medium or high resonance. The effect is marvelous. The high res on the lower filter pulls up lower frequency tones and overdrives in a pleasing way. Sweeps are controlled with the first filter's freq knob and you can hear the filters sweep in sync, which emphasizes the offset. It's really good.
So, if you had interest in this, here would be the changes needed:
1. allow filters 1 and 2 to both be LPF (used to be this way, right?)
2. implement the stepped harmonic offset link control described.
Mea Culpa if you hate these kinds of suggestions or if I've missed a good way to implement this myself. I love your work, man: your code is truly beautiful.
My last Out Of the Box equipment is a pair of Sherman Filterbanks, a v1 and a v2, that I've had for a very long time. I prefer using The Drop 100x to the Filterbanks but there is a signature sound I can get using them that I cannot easily get from The Drop and I wonder if you'd have interest in the feature as a possible addition to The Drop. The implementation would be two changes to The Drop. I present this to you just in case you are interested and with total respect for what you have created.
The Filterbanks have two multimode filters that you can link, Herman calls it "sync." When you link the filter cutoff frequencies you have a control called "Harmonics" that manages the offset. The thing that is great about this knob is that it is stepped, not free. So if you set the harmonic knob to "Free" both your cutoff freq knobs are independent, but then you can set it to other settings: 1, 1.5, 2, 3, 4, 5, 6, 7, 8, 9, 16. These slave the second frequency to the first with harmonic offsets: 1 = same freq, 1.5 = 1 fifth down, 2 = 1 octane down, 3 = 1 octave and a fifth down, etc. (you can look at page 12 of the manual here: http://www.sherman.be/index.php/support/downloads )
I've programed some things (poorly) in Max4Live and Reaktor and TouchOSC over the years to give me this ability with The Drop and Volcano and Live's built in filters, but it's never quite right and it is far from easy to keep things working when controlling VST plugins.
But, here's the thing: the effect is very, very musical. My normal use is this: I play my guitar DI into the computer, process it with EQ and compression and a long-tail reverb and then run it into my Sherman with both filters set to LPF, low resonance on the first filter, the second filter set to one of these harmonic offsets (3 and 6 are nice) and the second filter also set to LPF with medium or high resonance. The effect is marvelous. The high res on the lower filter pulls up lower frequency tones and overdrives in a pleasing way. Sweeps are controlled with the first filter's freq knob and you can hear the filters sweep in sync, which emphasizes the offset. It's really good.
So, if you had interest in this, here would be the changes needed:
1. allow filters 1 and 2 to both be LPF (used to be this way, right?)
2. implement the stepped harmonic offset link control described.
Mea Culpa if you hate these kinds of suggestions or if I've missed a good way to implement this myself. I love your work, man: your code is truly beautiful.
-
- KVRAF
- Topic Starter
- 2819 posts since 3 Dec, 2008
Shred is also used to describe hard clipping distortion pedals, so it fits perfectly here.Aloysius wrote:Push
Proper Shred is for virtuoso guitar players.
The Glue, The Drop, The Scream - www.cytomic.com
-
- KVRist
- 234 posts since 24 Apr, 2004 from Patagonia
n9, I think your suggestions are great and would be easy to implement. They will open the sounds al lot and also the second filter ratio lock will save a lot of time. Andy, maybe adding a button for "lock" Harmonic ratio", "quantized" would be possible for V2???
