I’m sorry if this has been covered in the thread, but I’m curious if the Noise Engine is Analog, or Digital, as in the AR/AK? If so, has anyone compared the two? I have an AR. The noise is a bit brittle. Good for some things, not for others.
Add a wavefolder to those sine waves 
Digital. Have you tried pushing it down a bit with the noise filter, and then applying overdrive? That could get you closer to what you want.
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Add a wavefolder to those sine waves [/quote]
The Toms are basically pinging filters. You actuate it with an impulse, and the “body” will resonate and ring out.
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Add a wavefolder to those sine waves [/quote]
The Toms are basically pinging filters. You actuate it with an impulse, and the “body” will resonate and ring out.[/quote]
It sounds much better with the impulse machine though. Pinging the filter before OS 1.30 sounded exactly the same as the Tom machine, which is a little bit ‘fuzzier’ sounding. Using the impulse produces a smoother rounder sine tone.
It was exactly the same before, if you supplied the same impulse, the filter hasn’t changed - a sample of the (or an idealised) impulse produces the same effect now as then - it’s just easier now 
It was exactly the same before, if you supplied the same impulse, the filter hasn’t changed - a sample of the (or an idealised) impulse produces the same effect now as then - it’s just easier now :)[/quote]
Avantronica is correct!
It was exactly the same before, if you supplied the same impulse, the filter hasn’t changed - a sample of the (or an idealised) impulse produces the same effect now as then - it’s just easier now :)[/quote]
Avantronica is correct![/quote]
Yes, understood. My point is, if the Tom machines are basically pinging filters. The source that pings the filter (within the Tom machine itself), excites the filter differently to the impulse. When using the impulse (machine) on the filter, it sounds slightly smoother, which is better for kicks.
Yes, exactly. The only thing that could be altered in the Tom engines is the impulse, which would yield a few different results. However, personally I think the Bass Tom sounds fantastic for deep kicks, and prefer to use that over the multi mode filter for kicks. Whatever floats your boat!
But yes, pinging the filter isn’t a new feature, it’s a common method for sound generation. However, when the user is given an interface that simplifies the process, or in some way presents an alternate way of interaction, there will be a much different outcome of how the unit is used, and what kind of sounds come out of it.
What I’m getting to here is that I think it’s very interesting how I found myself pinging the filters a lot with the impulse and thinking “this is so good” - I could have done so all along, but now I was presented with a method and so I started to explore that. In other words, the mind is pretty interesting - what else is new!
/ End of ramblings.
EDIT: Oh and speaking of making bassdrums with the multi mode filter! I have found that it will often have a lot of (in some cases unwanted) variation from the impulse machine. In other words, each trigger sounding a little bit different. A way to circumvent or reduce this is to set up an LFO in audio rate that modulates the filter frequency. Set it to TRG and a very, very quick fade. This will force the filter into a snappy response each trigger.
Also can be fun to experiment with the Noise engine and the filter for a ton of percussion sounds. Pair with audio rate modulation on the filter freq to taste. Do not forget to explore the different modes of the filter!
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Simon you said, the toms are basicly a filter ping. But you can still use the filter to filter the toms. The question comes in mind: which filter is used for the tom filter ping? Is there another filter within the tom engine?
btw I love the clicking of the filter pings with the impulse engine. The clicks are more hearable using the peak filter. If you don´t like the click, just turn up the saturation … or disable the synth enginge and use sample only but without sample loaded … so you can only hear the filter feedback / resonance without the click.
Yes! It’s a whole different filter (and circuit), slightly more harmonics when resonating and a bit richer in my opinion. The toms also go through the per track distortion, which is routed before the multi mode filter, so that’s a pretty neat difference. (And then pair with the multi mode filter after overdrive… Maybe even more resonance?? Deeeep!)
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Sounds interesting Simon. Example parameter settings would be good - if possible.
cool insights!
nice insight Simon! So another question comes in mind … if there is a 2nd filter within the tom engine … any possibilty to use the 2nd filter without the tom synth engine (in a future update)?? so maybe sending the sample to both filters like on the A4? Would be relealy great to have a 2nd filter when using the multimode filter for filter fm (or modulating the tom filter with lfo and using the multimode filter to filter the overtones…) . You could call that filter machine ^^
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Oooh, I doubt that’s possible frankly, but that would indeed be cool. Good idea!
Some sort of feedback machine would be amazing.
I’ve possibly been beating up a little on how innovative the impulse machine is, it’s attained a misleading mystique due to the modular tie-ins and it can be simulated well enough with a sample, even before 1.30
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… however, as pointed out elsewhere, by Simon I think, now it’s there it’s so darn inviting … I think I may now be one of those firmly in the camp of this being my new favourite of all the machines … the rest are bonkers good, but this when worked into a cranked up filter with modulations to taste is astonishingly expressive - what a sound, really on the money - the filter types just open up a smorgasbord of percussion types … I could easily live off of kits made predominantly with this new way to tickle the filters …
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just wanted to sing the praises of this humble machine and give a thumbs up to exploiting LFO fade-out for transient shaping - I’m getting sounds I couldn’t have imagined from the AR … incredible with the variations you can get from impulse parameters too … very versatile, it was all there for the taking before, but this opens the door 
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LFO fade-out is massive - amazing how much it shapes the sound.
This is the best OS update yet.
As pointed out, lots of the synthesis options could have been done before but now they are easier and quicker to set up. Previously I had a sample of white noise and some pretty clipped transients for the twang the filter game or for white noise sculptures but having them as machines is great and opens up the option of layering noise with samples or adding some snap to the front of samples. The simple machines are my favourite additions.
The other machines sound like they will be super useful too but I wanted to sing the praises of the basic stuff.
Many thanks Elektron!
Now… for the ask for the next OS update… is it possible to get rudimentary crossfading at loop points on samples? Just something simple to prevent the clicks when a sample loops. I know you can make them loop perfectly if you run the whole files 0->120 but if you pull in the scope then it almost always clicks a bit on the loop point.
Yes! It’s a whole different filter (and circuit), slightly more harmonics when resonating and a bit richer in my opinion. The toms also go through the per track distortion, which is routed before the multi mode filter, so that’s a pretty neat difference. (And then pair with the multi mode filter after overdrive… Maybe even more resonance?? Deeeep!)[/quote]
Wow even more filters in the rytm It does make me wonder why the toms don’t go higher in pitch, sounds like its not a technical limitation? Of course we can ping the multimode filter for higher pitched toms but the multimode is post-overdrive.