=== vcp challenge #75: airwindows ===

Once you got an initial signal, you can chain up any number of modules further up the signal path and/or go back again (feedback loops).

You could start with something that gives a single discrete pulse (like a click or burst) that you can use as an initial exciter into some feedback circuit, like a reverb, a delay, a phaser, a resonant filter or filter bank or combfilter or other module that has an internal feedback path. Or create an external feedback loop (like the one in my example). In that case almost any filter slope will eventually go towards self resonation if the signal has passed that filter often enough (in a feedback loop circuit).

You can also exploit (continuous) circuit noise to start things of. Airwindows has several noise or (intentially) noisy modules. Also, often digital filters have a very low level noise source built in, that will initiate self resonating when feedback/resonance is turned up far enough without the need of external input. Other noise sources could be amp(simulation)s, mixers and so on. In analog circuits the noise would be inherent to circuit and component ā€˜imperfectionsā€™.

Tuning can be achieved by precisely controlling delaytimes. The amount of ā€˜echoesā€™ per second equals/determines the frequency (see Karplus Strong). Or you could use use small band or resonant filters and set/control the filter frequency.

I bet many tunable/controlable circuits can be created using these basic concepts.

They say that unintended use of stuff promotes creativity. If you want an example of what can be achieved when exploiting functionality/properties to the max, check out Jakup Ciupinski exploiting the Fundamental VCF.

Or this one, where various filter topologies are created, using other basic concepts/components/modules.

Anywayā€¦

It pays of, delving deeper into basic core concepts of signal processing/synthesis. Understanding how/why stuff works further fills up your ā€˜toolboxā€™ and opens up all sorts of ways of exploiting these concepts for you own use cases/experiments.

2 Likes

Thatā€™s really interesting, Thanks for the links. Iā€™m dying to try out an Airwindows feedback loop. Iā€™m curious though, how do you get precise control of Airwindows delay times? Do you do it by ear? I donā€™t think they follow the V/Oct standard.

Wellā€¦just by ear I found out that the Airwindows BiQuad filters sortof follow V/Oct when setting the modulation amount at 0.250. So, when resonance is set high enough or when fed with some external signal (like noise), they can can be play ā€˜notesā€™ when modulating cutoff or center frequency.

You could use a tuner to set some (base) frequency once you have a distinguishable frequency from your module or circuit.

For feedback loops, itā€™s mainly a challenge to stabilize and limit them. The range between tunable narrow band, self oscillation and full overload is pretty narrow. Feedback loops are generally pretty sensitive to fluctuations in energy (signal levels) and easily and quickly spiral towards overload (even crashing modules). Soā€¦a (fast) limiter/compressor here and there at inputs and/or outputs is strongly advised.

1 Like

Yeah, been there before :smiley:

As promised, here is my patch featuring 81 AirWindows, and nothing else! (Except for the requisite Audio module, plus some light dividers and documenting text dividers). Note - this patch should be run at 48 kHz sample rate.

And here are a couple videos using the patch

Most of the sounds are generated by amp emulators with feedback, and no external inputs - the most elementary form of no input mixing. The Tone controls work well to control the frequency. In particular, the LilAmp works exceptionally well, giving a lovely lead tone that covers nearly 3 octaves. I tuned everything by ear. I didnā€™t use this feature, but the LilAmp can be tuned to 1 volt per octave for almost 1 octave.

In one voice I implemented a form of FM, with three different self oscillating amps functioning as FM operators. Op 1 modulates the tone of Op 2, which in turn modulates the tone of Op 3 to produce the final signal. I also mix in some varying CV with the Op 1 output to generate different tones at the end of the FM chain.

The Cabs amp can be swept through different tones by changing the model via CV, providing a sort of high pitched arpeggiator, but without much control of the pitch.

The self oscillating BassAmp generates a really interesting LFO signal that I modulate into envelopes to ping a resonant filter, which creates the driving rhythmic bass line.

The Mackity distortion (modeling the Mackie mixer amps) also self oscillates very easily with some feedback, just like the real deal. I use that for a two toned bass drone.

I am really happy with the LFOs that are created using Constant +5 and/or -5 voltage (DCVoltage) feeding the inputs of AutoPan. It has a wide range of frequencies, from very slow, to just below audio rate. They are really well behaved, though the frequency intentionally has a nice subtle drift to it.

There is no way I could create this pure AirWindows patch without copious use of Golem as a mixer. It can only mix two signals into one - so it takes many instances. The PurestGain works great as an amplifier or attenuator, or VCA. I only used the VCA capability paired with a complex LFO in one place to create an undulating voice.

Nearly half the patch modules consisting of nothing but PurestGain and Golem are used to create my 4 stereo mixer with 2 send/return effects loops.

One module I did not use, but I think has a lot of potential, is the LRFlipTimer that swaps left and right channels at regular intervals, ranging from 1 to 10 minutes. It could be used to alternate between two totally different sounds. I only wish it could be set to less than 1 minute - say maybe 15 seconds.

I really enjoyed this challenge! Thanks @ablaut !

13 Likes

Dave, you crazy person :smile:

At this point in this thread, itā€™s a more, uh, pedestrian take but as always, these challenges are such great invitations to get off my (lately) uninspired ass so hereā€™s the thing I made.

Not sure if Iā€™m actually going to be a big fan of Airwindows - itā€™s like the Ableton-situation when you look for a snare drum and there are like 273 of them - but I consider this excursion into its potential to fvck up things a success :slight_smile:

The two voices get a leeetle bit of Plateau and some Mello-Fi Tape-FX at the end, along with a compressor to bake everything together.

7 Likes

I like it! Sounds a bit like one of the layers they do in Board of Canada tracks, haha

1 Like

i really like this one

sounds like classic 70s synth (tangerine dream, jmj) but with a modern twist

1 Like

Nice noisy ambiance, I like the tempo changes and the burbly envelopes.

Exactly. Thatā€™s how they work for me as well. Just enough focus for the mind to concentrate on something specific, and ward off the option paralysis.

1 Like

Hereā€™s a couple of ideas Iā€™ve been playing with.

Iā€™ve been concentrating more on sound design here, so nothing really interesting music wiseā€¦

Patch A

Patch B

Patch C

Iā€™m really enjoying Airwindows in Rack. The Lofi and tape effects are awesome, but Im starting to play more with the dynamics effects like compressors.

Anyway, thanks to Chris and Paul for making this happen, and thanks to everyone else for the awesome music and inspiration.

8 Likes

Not musical? Maybe not sophisticated musical, but Iā€™d say sounds good ambient or trance musical.

2 Likes

A humble entry, I am still feeling my way. I saw this video by Chris VCV Rack - No Input Generative Patch with 3 Modules - YouTube and thought I could adapt it using Airwindows modules. The results are as unpredictable as you might expect, and necessarily brief.

2 Likes