Also i understand what you are saying re it sometimes sounding overwhelming and sometimes lush…
I had started to think that my ability to listen to it depended on how fatigued my ears were…at the beggining of a session it was always textured and lush, By the end of a day it could be too much…slightly “hurty” to my ears…
The core engine is pretty digital, harsh and brittle, then distorted and filtered digitally.
Even drenched in reverb i think my ears can actually only bear it under certain circumstances, definately not after long days of critically listening…
Oh that’s bizarre, do you think it’s because some settings don’t get saved properly when communicating with the editor or it’s also when you don’t work with the editor?
Does anyone know of a decent stand where I could put my blofeld and my h9 side by side. I want to prop them up to raise them up next to my controller keyboard.
I was wondering if any max4live developer can test this and report back if there is space for improvements. At first glance, blofeld responds well, colors some how scrambled. Response with a bit of latency(?), only outputs midi data, no midi input from blofeld, so no bank change response.
If u map its cc controls on a controller, it still keeps jumping parameters as when using its own knobs?
Over the years had and still have many synths. I even owned Blofeld a few times(maybe didn t dig deep enough…who knows). Thing is that from some demos I keep seeing, it sounds so much ‘better’, somehow more interesting than say Peak, Hydrasynth and many others. More so, in the mix, let s say Virus is hard to fit in, and it seems Blofeld it does that too well.
What s stopping me from buying again is the fact that always when having it it seemed somehow hard to program and didn t gel with it s envelopes and overall character… but now hearing all these youtube videos makes me wonder…
(Like for example I don t see one youtube video to make me say this about Peak or any other new synth…)
What s ur opinion about all this?
Sorry for the long post!
The key to the patch is a midi clocked sample and hold LFO
The LFO is mangled by Modifier 02, which XORs it with -33 constant
Then on Modifier 03 it is quantized to octaves with an AND -32
This is all sent to OSC1 which is a Sine Wave which is sent to Filter 1,
which is disabled.
Amplitude Envelope’s (One Shot) sustain is modulated by Modifier 03.
Filter Envelope (One Shot) is used to start with a clean sine wave then fade
to an FM modulation via noise.
Modifier 04 takes Modifier 03 and subtracts 52 to generate a modifier to
control the amplitude of noise (set to +52) which is routed to Filter 02,
a Bandpass filter with its cutoff modulated by Modifier 03.
Modifier 1 XORs LFO with is used as a randomizer to control the decay of
both Amp Envelope Decay and Filter Envelope
Both filters are panned to unsino@3, which generates the stereo space.
Only 2 other devices are used in this demo.
A Korg Monotribe as Kick Drum
and a Vermona PerFOURmer in M1 mono mode, a Vermona '14 (muted) is
used as midi controller for the perFOURmer.
Board effects on the Mackie 2404VLZ are HOF Reverb and a Strymon Deco
I just bought a used Access Virus TI1, superb box, way better than a Blofeld in terms of ease of management and sound design options. Waldorf really need to update this unit, but its almost still great value for money
These eventually will be part of a commercial patch combo.
At present I have all 1024 custom made, but I have to sort through all of these
and select the best of the best.
Granted my taste is older and different from others, so I have delayed for over 5 years
in doing so.
and thank you for listening xxx
