Making up your own 70s string sounds (Omni-like)

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unrecordings
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Post by unrecordings » Sat Jun 30, 2018 4:23 am

I found this by accident this morning. I vaguely remember a conversation on the MOTM list back in the day about emulating a Dimension D - Here's the result. I think the routing is correct but the delay time is probably way way out...
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Post by JohnLRice » Sat Jun 30, 2018 6:54 am

Rex Coil 7 wrote:When I think of string machines, instantly my mind goes straight to '70s Kansas. And not Dust In The Wind, either. Think Journey From Mariabronn, The Wall, The Spider, Magnum Opus, and so on.
:hihi: :sb: The prog band I was in during the first half of the 80's did Carry On My Wayward son, Journey From Mariabronn, and Magnum Opus as cover tunes! :eek: :lol: Our keyboardist, Mike Jackson, was awesome but he didn't happen to have the exact keyboards to get the exact sounds, but he came close enough. We weren't a cover band, we mainly did our own prog rock originals so getting perfect sounds for covers wasn't super important to us.

Keyboards Mike had were:
Helpinstill Baby Grand piano
Crumar Synergy
Yamaha SK-30
Roland VK-09
Moog Source
Moog MiniMoog

Anyways, besides all those great early Kansas song previously mentioned check out the string ensemble action on Incomudro:
[video] [/video]

I also think of Triumvirat's Spartacus album for some prominent Solina/ARP string ensemble usage, like these two:
[video][/video]

[video][/video]

Oh, and of course Gary Wright's Dream Weaver!
[video][/video]

Now, there are some rack mount devices as well as 5U modules that can turn some narrow pulse waves into a convincing stringer sound. Oakley has one but the one I have is the COTK C 1670 String Ensemble and while it is a finicky, noisy, and unreliable beast of a module, not to mention a large, expensive, and someone of a one trick pony, with a lot of careful patching and luck, it can sound pretty fantastic! I had a very early one that kept killing the BBD chips and at one point Kazike send me a list of modifications to fix the chip killing problem. I did the mods but the final alignment steps weren't clear to me and I couldn't get a good sound out of it any more. It has been patiently waiting for years :eek: for me to revisit it and see if I can get it going again correctly . . . But here is one example I did in one of my earlier music videos and I'm still quite proud and pleased of the result. 8-)
[video][/video]

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Post by BenA718 » Sat Jun 30, 2018 8:16 am

I hope you find that sound you are chasing! Kansas is one of my favorite bands. Have you watched the documentary, Miracles Out Of Nowhere? (My main music project is a crossover prog band named As Follows)

I can speak to a couple of the things you mentioned as I own them:

EHX MEL9 - absolutely brilliant tron recreation that nails the vibe, if not the precise sound, of a tron. You can also use the output of a synth into it and it will transform whatever your original sound is into a tron with surprising accuracy. Use a compressor in front of the MEL9 for best results.

BOSS RT-20 - not only is this a great rotary emulator, it also does Univibe sounds. Perhaps the most useful feature is the fact that it has a blend control which enables you to dial in some very unique modulated sounds.

I also have an E-MU Classic Keys which has some great, gritty vintage string sounds.

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Post by ndkent » Sat Jun 30, 2018 8:26 am

The new waldorf adds keys and a vocoder.

Of course there's the roland boutique vp-03. Does the string and choir sounds from the vp330 in digital.

I tried the behringer copycat of the vp330, sounded okay but the physical feel was kind of flimsy, albeit much smaller and lighter than a vp330 the sound seemed more clean and behaved, wonder if they cloned the whole thing or cut corners

The Dimension D is a bit like the lower more subtle setting found in some Roland string machines. You have button presets for strength and speed, nothing with a pot control. Behringer made a super cheap now discontinued dimension C copycat pedal a couple years ago in real analog. It adds dimension without that obvious an swirl effect. Generally the classic ensemble sound was more in your face

The most famous string machine ensemble effect is the solina. It's 3 modulated delays. The not at all cheap Elkorus recreates it with original chips and far more parameters and i/o + some ekla ensemble emulation

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Post by Rex Coil 7 » Sat Jun 30, 2018 11:05 am

JohnLRice wrote:
Rex Coil 7 wrote:When I think of string machines, instantly my mind goes straight to '70s Kansas. And not Dust In The Wind, either. Think Journey From Mariabronn, The Wall, The Spider, Magnum Opus, and so on.
:hihi: :sb: The prog band I was in during the first half of the 80's did Carry On My Wayward son....
Here's a band I stumbled over on day, doing that venerable incredible song ..... teh vocals .... teh vocals .....

[video][/video]
JohnLRice wrote:Keyboards Mike had were:
Helpinstill Baby Grand piano
HELPINSTILL you say. Holy Baby Grands Batman!! Wow, I haven't heard that name in many many years. I was one within the Yamaha CP-70 clan. Two strings per key (instead of three) ... but it still had that ~Kansas live sound~ buried within it's heritage.

But yo ... a Helpinstill ... wow.

And just for ambiguity's sake ....

[video][/video]
ndkent wrote: .... The most famous string machine ensemble effect is the solina. It's 3 modulated delays. The not at all cheap Elkorus recreates it with original chips and far more parameters and i/o + some ekla ensemble emulation
I was made to understand that ARP had the Solina built for them, rebranded as the ARP String Ensemble. Which ARP dumped when they figured out they could build the String Ensemble easily enough themselves ... did so ... and thereby birthing the Omni and Omni II.

(And people whine about Behringer being cloners .... huh! .... if they only knew how much of that has gone on over the years and throughout the entirety of the music entertainment industry .... from lyrics to drumsticks).
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Post by Rex Coil 7 » Sat Jun 30, 2018 12:58 pm

Just took the Oakley SRE330 for a little test flight (that's pilot-speakage for *I listened to the audio demos*) .... man, that is about as close to "Thuh It" sound ... ensemble effect wise ... as yer gunna git.

PCBs involved come to $85.00 British Sterling (today's exchange rate comes to $112.26 ... ouch!) ... and it looks like it has about $125.00+ worth of Mouser-obtained components. Plus the 1U rack enclosure (on hand in my studio, fortunately) ... and let's say the remainder of any ancillary components I have overlooked rounds the whole thing UP to $250.00 USD +/-. So to be safe, let's call it $300.00 USD all said and done.

So then the question comes to "would I pay that much if it were an off the shelf item at a retailer?".

HELLS YEA I WOULD! That is only a little more than a mid-range delay, like a DD-20 or a modern digital Space Echo. Geez, the Neo Ventilator is $500 bones!

Link to Neo Ventilator = https://www.sweetwater.com/store/detail ... 80e6999a50

That Oakley is the duck's nuts!

FOUNDATION TONE MAKER:

The audio demos on the Oakley SRE330 page were made with a 34-odd year old Roland synth. Is there some iteration of one of the new Roland Boutique models that will/can emulate that sound? Perhaps the D-05? I'm aware it is fully digital ... but still? Others? Used rack stuff would also be fine (rack would be better actually).

:tu: That Oakley SRE330 ... man, that's Teh Brutalz ... all the way baby!

EDIT: By the by ... I tried using my wife's new Boss RT-20 rotary simulator for this purpose ... fail. But to be fair, this isn't what the RT-20 was designed to do. Within it's design element it works a treat, for certain. I actually like it better than the Neo Vent or other so called rotary simulators. I paid $156.64 for her Boss RT-20. Well spent money.

8-)
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Post by Technologear? » Sun Jul 01, 2018 4:01 am

I really enjoyed this thread. I love stringers too but only have a streichfett and a Roland rs09, so have appreciated hearing from those with experience with the real deal.
And that Oakley :hail: thank you for pointing it out!
I have no diy build skills so couldn't consider one, but can I cheekily propose a discussion on a cheapskate alternative? Like a specific combo of a few stereo bbd or digital-emulation pedals that have modulation and/or a phaser too?
Obviously it won't sound as good but could you get in the ballpark of the Oakley?
I'm thinking of using my streichfett as the base key sound with its fx and ensemble off.
The modulation depth and overall amount of the fx on the sound is what I want (wet dry of overall ensemble effect). Wiggling a chain of fx, as tricky as it would be, is far more enticing than the inbuilt fx of the streichfett.

Anyone game enough to propose a pedal chain?

JohnLRice

Post by JohnLRice » Sun Jul 01, 2018 4:32 am

Technologear? wrote:I'm thinking of using my streichfett as the base key sound with its fx and ensemble off.
I just remembered an article I read long ago . . .I think it was in Polyphony magazine and maybe it was an interview with Larry Fast? :hmm: Anyways, it was discussed that there is a psycho-acoustic effect out brain sorts our where a single higher pitched and louder sound will be dominant and cause us to hear lower pitched and softer sounds in a way that we think they are all of the same timbre. Meaning use a modular to synthesize one really good sounding string voice and use it to play the top note of a chord and then use what ever cheesy chord generating things you have to play the rest of the notes of the chord, and it will all sound better then just playing it on the cheesy poly synth. 8-) It's been a very long time since I read that article so I may have gotten some (or all? :eek: :lol: ) of the fact wrong. :hmm:

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Post by Rex Coil 7 » Sun Jul 01, 2018 6:58 am

Technologear? wrote:...I'm thinking of using my streichfett as the base key sound with its fx and ensemble off.
Fekkin brilliant. The Streichfett has everything else pretty much right ... it's the ensemble effect that seems overdone (as has been pointed out already).

Hmmmm ... :hmm: ... Streichfett with Oakley SRE330 ....... woa!

You may be on to something there Member *Technologear .... grand idea .... yes, simply bully idea, indeed.

:tu:
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Post by Rex Coil 7 » Sun Jul 01, 2018 7:08 am

JohnLRice wrote:.... Meaning use a modular to synthesize one really good sounding string voice and use it to play the top note of a chord ...
So set the modular up with a high note priority and mix the output with ~something else~ on the same midi channel to play the chord with....?

Hmmm ... nice. Worth a try, that's certain.

8-)
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Post by Rex Coil 7 » Sun Jul 01, 2018 7:46 am

BenA718 wrote:I hope you find that sound you are chasing! Kansas is one of my favorite bands. Have you watched the documentary, Miracles Out Of Nowhere?
Yes, actually own it! Doubtlessly, their Golden Era was the mid-70s. Well, really every thing up to and including Two For The Show (one of THE must-own live albums among progressive rock groups ... right up there with "Welcome Back My Friends..."). Other faves are UK, Starcastle, Rush (up to Hold Your Fire ... not hip with everything beyond that OTHER THAN their very last album, which is excellent).
BenA718 wrote: ....I can speak to a couple of the things you mentioned as I own them:

EHX MEL9 - absolutely brilliant tron recreation that nails the vibe, if not the precise sound, of a tron. You can also use the output of a synth into it and it will transform whatever your original sound is into a tron with surprising accuracy. Use a compressor in front of the MEL9 for best results.
Excellent advise on the use of a compressor in front of a device that is dynamically sensitive! MY wife asked about the MEL9 .. I pulled up a video ... now I'm hunting one down for her as she simply must have one.
BenA718 wrote:BOSS RT-20 - not only is this a great rotary emulator, it also does Univibe sounds. Perhaps the most useful feature is the fact that it has a blend control which enables you to dial in some very unique modulated sounds.
Yea ... yesterday we hooked up her 1955 Hammond M3 to the RT-20 that came in just two or three days back. Connected it up to my little studio "PA" (left over bits from when I played in the last band I was in for ten years). She played for two straight hours! Yes, it sounded great, but it also put some work for me front and center. Drawbars need a good "DeOxit D5" treatment ... that's for sure!!

She owns two M3s, both of which I have added custom line-outputs to them.

Image

Her favorite of the two she named "Morticia" and the other is "Gomez" ... both are named after the husband and wife of the TV show "The Addams Family".

We have a sign in our front yard which says "The Atoms Family" that I had made up for us by a local signmaker. Seemed quite appropriate since we're the oddballs of our neighborhood, and I worked in the military in a career field which dealt with atomic stuff.
BenA718 wrote:... I also have an E-MU Classic Keys which has some great, gritty vintage string sounds.
My wife used to have a Proteus 2500 .... simply excellent rompler. She and I both miss it.

Currently, her little studio sports the two Hammond M3s, a Moog Grandmother (waiting list), and a really simple Yamaha keyboard (one of them what has speakers on each side). I bought her a Kenton MIDI/USB Hub to convert the USB-only MIDI connection the Yamaha is outfitted with to DIN5 in and out. Now she has a halfway decent 5 octave MIDI keyboard that has a really fun arpeggiator, as well as sampled drums, and some surprisingly good ... nope ... great bass sounds. As of yesterday we've added a Voca Kick to her little rig. It rounds off with a Line 6 M13 and a Mackie 1202VLZ3 (one of Mackie's better mixers, which weighs a LOT and can be had for around $110 used ... I use the very same model to mix the pickups of my 4 pickup bass guitar).

:despair:

:tu:
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Post by BananaPlug » Sun Jul 01, 2018 8:44 am

Threads that dissect a sound and try to produce something like it, often go off in a different direction which is good in it's own way.

I'm re-populating a frac case that's designed as a home for bulky but wonderful Blacet modules. The thread has me thinking about stringy sounds. The VCOs snappy transients would be a plus. Frequency Divider or MiniWave to thicken things up. Filters and Stonz Phaser. I'll try it out with a ribbon controller, though my original intent was more about generative patches.

Don't expect anything like Kansas. :hihi:
(Sounds)--> :eek:
Misconstrued comments taken out of context may offend some readers

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Post by Rex Coil 7 » Sun Jul 01, 2018 8:58 am

BananaPlug wrote:Threads that dissect a sound and try to produce something like it, often go off in a different direction which is good in it's own way.
Eh .. don't worry about the stuff I meander on and on about. It's who I am, and what I do. Well known for it to be honest.

We're still on the same track that this started out on. I just take things off on a dirt road now and again ... but the main highway is always within eyeshot of the detour.

8-)
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Post by Broadwave » Sun Jul 01, 2018 9:22 am

I've just completed a DIY Crumar Performer 3 Phase ensemble effect, but I've added several mods that include switching off individual LFO shifts and delay lines and depth controls. I've also added a separate LFO to control one of the delay lines (to emulate the ARP Omni, as it doesn't use the standard 3 phase system).

With the mods, I can emulate several stringers, Yamaha SS30, Solina etc. and also those that only use 2 phase shifts (Early Roland and Elka/Hohner). It works very well, but now I need to build a phase locked divider oscillator system, which is easier said than done!

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Post by Rex Coil 7 » Sun Jul 01, 2018 9:26 am

I am BIG TIME curious what I'll be able to do with my Kurzweil PC3A6 in regards to these stringers. It's presently at a warranty shop for a rather simple repair (cold solder joint on one of the main output jacks). The PC3A6 not only has ROM samples, but it also has a very strong VA synth built into the V.A.S.T. architecture ... each "program" may have up to 32 separate "layers", and being multi-timbre it can play 16 programs at once. Summed up, it can play 512 program layers at once, all while supporting 128 note polyphony. Each "layer" is actually a single program all it's own. So what Kurzweil calls a "program" as actually a "preset" comprised of up to 32 programs. Utter Muscle! And it can make up entire 16 "program" groups they call "setups". All of which can be made in "KVA Mode" which is 100% virtual analog architecture (no samples used at all). So with this PC3A6 monster truck of a power-synth, I have some options available to attempt to make up some of these string sounds. Hell, for all I know there may be a way to arrange the uber potent FX section into a proper ensemble effect.

(more rambling ... pay no mind ... remain calm ... all is well ... nothing to see here folks ... move along ... walk, do not run ... all is well ... remain calm.)

Image

So I am curious as a cat about what type of foundation sound I may be able to create. I can use the nine sliders to adjust the relative volumes of each register of the base string sound (cello, viola, violin). Keyboard ranges and split ranges can then be used to build up a "virtual Omni" (so to speak) having strings and bass sounds strung out along the 5 octave keybed.

Run my best effort with the Kurz through an Oakley SRE330 .... :eek: :hmm:

I dunno men, it may be the best way that I can create these sounds given the limits of my studio.

I am so bloody curious!!!

Gotta admit, using the Streichfett as a base sound (without the use of it's own ensemble effect) then running that through something like the Oakley SRE330 is another very good notion.

Damned good thread .. indeed so!!

:tu:
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Post by Rex Coil 7 » Sun Jul 01, 2018 9:52 am

Man ... I wish I had such skills. This looks *AWESOME! Not just ~looks~ great, but combining the idea with the excellent "so far" execution of your idea. I can't wait to see it all put together into an enclosure of some type ... AFTER you post some sort of audio demo of it in use!!

(Now look at what you done gone and made me do .... I n.e.v.e.r. use that word (*awesome) since about 1998 when it became part of the mainstream lexicon. And you've gone and made me use it! See how you are?).

:lol:

So the 3ph system .. does that use one waveform type (sine?) from each of the 3 LFOs with each one being the same sweep speed but on different degrees of phase? Like perhaps 0 degrees, 120 degrees, and 240 degrees (dividing up 360 degrees into three equal phase "pie slices")?

Then each separate "rephased sweeping lfo" control independent modulators (chorus I presume) in parallel, their summed output creating the overall sound output?

So sound going in is distributed (via active buffered distributor) 3 ways, each separate line going into it's own modulator. Each parallel modulator controlled by LFOs all putting out the same modulation waveform, but in different phase from each other. Then mix the three out of phase modulated signals back into one summed output?

:tu: :tu: Well done, all acounts.
Broadwave wrote:I've just completed a DIY Crumar Performer 3 Phase ensemble effect, but I've added several mods that include switching off individual LFO shifts and delay lines and depth controls. I've also added a separate LFO to control one of the delay lines (to emulate the ARP Omni, as it doesn't use the standard 3 phase system).

With the mods, I can emulate several stringers, Yamaha SS30, Solina etc. and also those that only use 2 phase shifts (Early Roland and Elka/Hohner). It works very well, but now I need to build a phase locked divider oscillator system, which is easier said than done!

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Post by commodorejohn » Sun Jul 01, 2018 10:18 am

Rex Coil 7 wrote:Other faves are (...) Starcastle,
My MAN.

Not to mention they're another band rocking the classic stringer sound - it's funny because as much as people give them crap for sounding like Yes, replacing the Mellotron with (I assume) a Solina puts this gentle spacey edge on their sound whereas Rick Wakeman's strings are often more brash (if not really in-your-face per se.)
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Post by Audiohub » Sun Jul 01, 2018 11:10 am

You can find a nice explanation of the ensemble effect by looking at the block diagram of the Arp/Solina string ensemble in the service manual.

There's a faster vibrato and a slower chorus triangle wave oscillator. Each is filtered to make them more sine-like, and then applied together to three short delay lines to make chorusing. The second delay line gets a different version of the combined vibrato/chorus modulation waveform that is phase shifted from the previous one, and the third delay line modulation waveform is inverted from the previous two, and then the whole thing is combined together at the output.

I tried building this as a separate effect in the 70's, but since I couldn't find the delay lines, I used three 6 stage phase shifters instead. It was an interesting effect, but not nearly as nice as the string ensemble.
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Post by Rex Coil 7 » Sun Jul 01, 2018 11:35 am

commodorejohn wrote:
Rex Coil 7 wrote:Other faves are (...) Starcastle,
My MAN.

Not to mention they're another band rocking the classic stringer sound - it's funny because as much as people give them crap for sounding like Yes, replacing the Mellotron with (I assume) a Solina puts this gentle spacey edge on their sound whereas Rick Wakeman's strings are often more brash (if not really in-your-face per se.)
My original LP of Fountains Of Light (I am the original owner, bought in 1977 shortly after it came out). HEAVY advertising on the local FM album rock radio station in Tucson for Starcastle's upcoming concert there get my attention. Then on whatever late night time block dedicated to playing an entire album on that station ("KWFM") came along that featured Fountains Of Light set the hook.

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Stringers indeed!

:tu: :nana:
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Post by Broadwave » Sun Jul 01, 2018 1:53 pm

Rex Coil 7 wrote:
So sound going in is distributed (via active buffered distributor) 3 ways, each separate line going into it's own modulator. Each parallel modulator controlled by LFOs all putting out the same modulation waveform, but in different phase from each other. Then mix the three out of phase modulated signals back into one summed output?
Yup, precisely, except that there are two LFOs one running at 0.53Hz and the other at 5.3Hz. The two are mixed together to create a cross modulated LFO. The the output is shifted to 0, 120 & 240 degrees - those shifted outputs modulate the delay cells to generate the glorious ensemble effect that even the best analogue synth just can't recreate.

The ARP Omni/Quadra used a different system that was just 3 separate LFOs directly driving each of the delay cells... Simple, but not quite as full as the 3 phase circuit.

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Post by Dave Peck » Sun Jul 01, 2018 4:26 pm

Audiohub wrote:You can find a nice explanation of the ensemble effect by looking at the block diagram of the Arp/Solina string ensemble in the service manual.

There's a faster vibrato and a slower chorus triangle wave oscillator. Each is filtered to make them more sine-like, and then applied together to three short delay lines to make chorusing. The second delay line gets a different version of the combined vibrato/chorus modulation waveform that is phase shifted from the previous one, and the third delay line modulation waveform is inverted from the previous two, and then the whole thing is combined together at the output.
Interesting! This description sounds just like the way the Elka version works. Here is the Nord G2 external effects processor patch I created that simulates the Elka version, which may be useful for trying to develop these kinds of effects even if you don't have a G2.

A few things:

- Note the EQ module near the top, with the crossfader to determine how much that EQ affects the sound. The Elka chorus has a distinct midrange-y tone (provided by the odd curve of the EQ module) and the crossfader allows you to choose how strong that effect is, ranging from flat EQ to very EQ'd.

- I also added a single knob control to shift the relative phases of the LFOs from all in phase, to the setup that matches the Elka (in each of the fast & slow LFO sets, one of the three LFOs in the set of three LFOs is 90 degrees and one is 270 degrees relative to the third LFO in that set) and another knob to set the stereo width of the three delay outputs, with one panning further and further left, the other further and further right, and one staying in the center.

- there are also a pair of knobs to set the sweep DEPTH of the 'fast' LFO set and the 'slow' LFO set, which gives a much more versatile range of effects that the Elka didn't provide.

- Lastly, I added a couple of knobs to give just a bit of adjustment to the rates of the three fast LFOs and the three slow LFOs.

- I added a feedback control, which the Elka doesn't have.

Enjoy!

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Post by Rex Coil 7 » Mon Jul 02, 2018 10:33 am

Dave Peck wrote:
Audiohub wrote:You can find a nice explanation of the ensemble effect by looking at the block diagram of the Arp/Solina string ensemble in the service manual.

There's a faster vibrato and a slower chorus triangle wave oscillator. Each is filtered to make them more sine-like, and then applied together to three short delay lines to make chorusing. The second delay line gets a different version of the combined vibrato/chorus modulation waveform that is phase shifted from the previous one, and the third delay line modulation waveform is inverted from the previous two, and then the whole thing is combined together at the output.
Interesting! This description sounds just like the way the Elka version works. Here is the Nord G2 external effects processor patch I created that simulates the Elka version, which may be useful for trying to develop these kinds of effects even if you don't have a G2.

A few things:

- Note the EQ module near the top, with the crossfader to determine how much that EQ affects the sound. The Elka chorus has a distinct midrange-y tone (provided by the odd curve of the EQ module) and the crossfader allows you to choose how strong that effect is, ranging from flat EQ to very EQ'd.

- I also added a single knob control to shift the relative phases of the LFOs from all in phase, to the setup that matches the Elka (in each of the fast & slow LFO sets, one of the three LFOs in the set of three LFOs is 90 degrees and one is 270 degrees relative to the third LFO in that set) and another knob to set the stereo width of the three delay outputs, with one panning further and further left, the other further and further right, and one staying in the center.

- there are also a pair of knobs to set the sweep DEPTH of the 'fast' LFO set and the 'slow' LFO set, which gives a much more versatile range of effects that the Elka didn't provide.

- Lastly, I added a couple of knobs to give just a bit of adjustment to the rates of the three fast LFOs and the three slow LFOs.

- I added a feedback control, which the Elka doesn't have.

Enjoy!

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The NORD Modular (G1 or G2) is just superb for working out such things. Even the demo version of the G2 is an amazingly potent developmental tool. Thanks for this Dave, one hell of a nice piece of work!
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Dave Peck
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Post by Dave Peck » Mon Jul 02, 2018 1:26 pm

Thanks! You should be able to create this same patch in the original NM1/Micro, too. I don't think it requires a G2. You'll just need to put two NM1 delay modules in series for each of the delay modules used in the G2 version because the individual NM1 delay modules only provide about 2.5 milliseconds of delay per module.

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Post by Audiohub » Tue Jul 03, 2018 10:07 am

This technique has been adapted and modified to provide animation in synth patches as well over the years.
For instance, the Sequential P5 string patch used the LFO to provide the faster modulation to oscillators' PWM via the modulation routing, and then slightly detuned the two oscillators to provide the rolling chorus effect.

On systems with more LFOs and oscillators, the overall effect can be improved, and using envelopes or other controllers like key position, aftertouch or velocity to dynamically modify the overall settings can also add additional life and depth to the animation.
Last edited by Audiohub on Tue Jul 03, 2018 7:25 pm, edited 1 time in total.
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Post by Rex Coil 7 » Tue Jul 03, 2018 5:39 pm

Audiohub wrote:This technique has been adapted and modified to provide animation in synth patches as well over the years.
For instance, the Sequential P5 string patch used the LFO to provide the faster modulation to oscillators' PWM via the polymod routing, and then slightly detuned the two oscillators to provide the rolling chorus effect.
I'll be trying this out on my Odyssey after no longer than it will take to click on the ~submit~ button, get up from this chair, turn on Odyssey and allow it to warm and stabilize. I'll not be so shy so's to neglect attempting the inclusion of a chorus I built years back that seems to really sound excellent with analog synths. It actually made the MiniBRUTE produce such a convincing "second unison VCO" that it became one of those rare "always on" effects. So I'll be certain to add that thing to the patch that's been suggested above.

(That chorus ... for whatever reasons, it sounds imply amazing with analogue synthesizers ... it takes only the most rudimentary adjustments to make a synth fly. It has two knobs; best setting = both knobs at 12 o'clock .... see how easy that thing is? I have several more boards, like maybe five or six ... I may decide to make a half-assed Too Yube video to display it's charms ... then offer completely built units for sale until all five are gone. Hey, at least I'll have shared something I feel is pretty damned nice to a fortunate few, y'know? There actually and honestly is at least a few tiny grains of altruism in my intention! ... :roll: :lol: :lol: ).

I did a loose (but as accurate as possible) estimate of the completion cost of the Oakley SRE330. It would probably come out to around $300.00 to $350.00 US "Hard Earned" to get it done, as long as your time is considered ~free~ (most folks it is ... since building it is part of the enjoyable experience, it's nearly like we should be paying for the time we spend building such things .... something as fun usually doesn't come without costing you at least something). So worst case = ~about~ $350.00. Ummm ... perhaps $400.00

Seems high? Not to me it doesn't. That would be one of those "keeping forever" audio processors ... being stereo it is far too useful to sell after taking the time to build it. Kind like how that chorus turned out to be far better with synths than it ever was for guitars (which is what I initially designed and built it for). It's just one of those processors that does what it does SO WELL. If the Oakley SRE330 sounds as good as the demos make it sound ... I feel it is well worth the time, effort, moolah outlay, and many hours at the bench (which is a different type of "time").

But I'm still trying that patch on muh Odyssey!
(with muh damn chorus Yo!)

8-) ~click~
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