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thank you @OscarSouth for this discussion. I like the first video you posted very much. I learned to play the Khomus some time ago, more for fun than for anything else, but I realised that one can hum or sing a tone while playing the Khomus (Jaw harp, Jew's harp) which results in some kind of ringmodulator sound. Actually it is an acoustical ringmodulation. The vibrations from the Khomus (oscillator A) interfere or ringmodulate (addition and substraction of frequencies) with the human voice (oscillator B ). A physical, acoustical ringmodulation. It's magic.
This is one reason why I kept my Khomus collection. A very versatile instrument. I must add that I'm not a master of this instrument, but learning a lot from those video links you posted and the related videos. There are so much modulation options: breath, tongue position, lip position, mute (with the upper lip or finger), and many more that I don't know. Breath is very expressive. One can create a rhythmic pattern with breathing, and stroke the Khomus only few times (downbeat and partials of it).
Regarding Animoog wavetables (timbres), I don't know very much, although I have it since long time. But it's just a question of sample format I guess. Good to see Animoog wizards to provide a solution for Khomus timbres for Animoog. Although it won't come close to a real Khomus performance, but may be interesting to explore in a virtual synth.
must be some kind of e-bow. I always wanted an e-bow but they are pretty expensive (over $200). But there's a new kind of e-bow from Paul Vo (another new one, not the one released a year or two ago). I'm wondering if it would work on a Khomus too (it is designed for guitar strings).
I love to see the joy Animoog causes.
Its like the first line of coke ever -------- you just know this motherfucker is amazing.................LOL
Nice to have @RustiK here, talking up Animoog.
Started to experiment with your presets and timbres, from the Animoog.org database. Pretty cool! Sounds like the “RePrison” relies pretty heavily on The Grateful Dead Expansion Pack. Might end up getting that one, after donating a bit of dough to people whose work we use (say, Adventure Kid).
Do you have any advice on making such timbres and presets or you just experimented a lot?
I'm more of a bacon sandwich kind of guy. I'll substitute that in.
I have never hit the random button in the years I've had this, dunno why, will remedy.
I think it might be one of the best synths ever created honestly.
I usually try to keep a spectrum.
Imagine a color wheel. Well I tend to do that with the envisioned sound I have in mind. I generally put the dense sound on the bottom.
I also enjoy the use of negative space as much as the timbre. That transition is key for what I feel is the glue that holds it together ----far as expression.
The crush to resonance balance is also a worthy exploitation of the tail ends of you know what I mean.
Did you get my custom timbre banks?
Had missed this part (which obviously strikes my ethnomusicologist’s sensitivity)…
Very neat! Thanks for sharing. Glad you’re interested in working with those sounds! We need more musical diversity, in this world.
Don’t know much about Animoog timbres yet but while they’re really cool, it sounds to me like it may not be the best approach to work with khomus sounds.
As you and @Phil999 both say, much of the “sound” is the equivalent of an organic synthesis method. So, the spectral content of the sound is very interesting but mostly because of the way it changes through time. This is similar to what Animoog does, artificially. So, you might achieve a very similar effect by using other waveforms and moving between them. That’d be my first hunch: start with vocal timbres you find in AKWF or elsewhere, then try to reproduce the effect of khomus playing using Animoog. If that works well but you’re missing something important from your wife’s performance, then you may start playing with samples to make them fit in the Animoog structure using the advice you’ve received.
Might end up doing something similar with Tuvan-style overtone singing and/or Tibetan monk chants. Started playing with Alchemy to explore the spectral content of these sounds. They’re rich enough but much of the effect may come from formant filtering anyway.
Anyhoo, please keep us posted as to your explorations! And do congratulate your wife!
Very useful insight! Thanks a lot for this.
It may sound obvious, to you, but it really brings it home, for me.
Yeah. Got a folder with 479 files, including 158 with your name on them, along with what sounds like the 294 “AKWF-Reduced” timbres and some stuff from “oNabRidge-bbcb” and “dc_” . It’s just that some of your presets use things like “GDWeirVox” which are probably from Moog’s Grateful Dead soundpack. Should probably bite the bullet and buy that pack already.
@skiphunt said:
Speaking of things which should be obvious in the Animoog interface...
Everybody knows how to assign MIDI CC to the green dot on the XY grid, right? Took me a while, to be honest, because the Setup “window” in which you activate MIDI learn is hiding the grid itself. Pretty obvious, in the peculiar logic of the Animoog skeuomorphic interface. But it didn’t jump at me the way the random presets jumped at so many people.
Anybody else thinks that the app could use a redesign? The app’s functionality is great but this isn’t a situation when you think “oh yeah, a throwback to 1960s radar technology is just what we need to make music”.
I haven't assigned the midi cc in the xy grid in awhile, but I do recall it took some sleuthing to figure it out. I used to think that about the design too, but now I kind of dig the 1960's radar look myself.
https://www.animoog.org/2016/12/23/rustik-x-k-251-new-animoog-presets-and-159-new-timbres
Dead Pack is good for mainly vocal/vox and percussion.
I am only using my own timbres exclusively at the moment.
I never use it except with WEEH the XY axis app from Klevrgrand.
On my iPhone only actually.
I run ANimoog iPHone version on my iPad with iPad version for Animoog x 2
@RustiK have you found it difficult if not impossible to delete path points on the iPhone version since the last update or is that just me?
And I love the 1960s radar look by the way folks.
i will have to check on phone and on phone app on my ipad and get back
Man totally didn't think about this awesome tip! Two instances!
Off topic here but this shit is amazing. Saydyy just showed it to me this morning..
Made in the Sakha Republic!
Having a play around with these ideas today. Can anyone recommend any W10 software that can do the required edits (inc. timestretch), is free, and would run on the worst possible laptop you can imagine trying to deal with.
I have Studio One on my Studio PC, which would probably be suitable. Unfortunately.. that's in another country so I've just got this rotten laptop to work with. Am going to go see if there's anything inside my iPad that's better..
This one: http://www.audacityteam.org
I've got this installed but I couldn't find any way to perform timestretch by a factor of 9. Never really spent much time in Audacity.. I'll have another look.
Edit: I can't find a tool to simply stretch or reduce the size by a factor of 9. Does this exist in here?
Live update.. Didn't figure it out in Audacity but in Auria Pro I got it to work. I set the tempo to 80.74 and time signature to 9/8. This means that when you shrink a file of one bar down into one beat, you get almost exactly the the same amount of time compression as Animoog's built in timbres.
One irritation in Auria Pro is that when time stretching, the screen won't scroll when you touch the edge. Got to do it in two hits because I can only drag it half way across the necessary area before running out of space.
What about paulstretch in audacity (newest version)? I think that can stretch things to unheard of degrees
I spotted that. Do you know what values I should enter for timestretching (in either direction - shrinking or expanding) by a factor of 9?
That I couldn't tell you, sorry. Haven't used it that much. I don't think it can shrink though. I tried.
If there's a separate "iPhone" version of an app, it's running on my iPad. Except for a few effects. The trick is most useful with instruments.
Had a little success (successfully got a Timbre into Animoog) but have hit a confusing conundrum: I loaded two different Timbres into Animoog and they both sound 100% identical. I've double checked a dosen times and they are definitely not duplicated. Anyone got any explanation for this?
Also..
Is it necessary to pitch shift things to 43.067Hz? I read on the Moog Forum that this all the factory Timbres are at this frequency.
I saw in a YouTube video that file lengths are compressed by a factor of roughly 9. Any practical logic behind this? I took a file and shrunk it down by 'roughly' this amount into the standard 371 samples. What's the ramifications of not following these specifications?
Cheers,
Oscar
I've never heard of the pitch shifting thing or the factor of 9. I used the following instructions, basically cutting them in Audacity to mono, 16 bit, 16384 sample slices. That comes out to .371 SECONDS long at 44.1hz or .341 seconds at 48khz. Resulting file will be about 33kb. This method works. Guaranteed
Here's the link for more details:
https://forum.moogmusic.com/viewtopic.php?f=13&t=14187
The factor of 9 thing I picked up here:
It sounds from what you say @db909 that there's a lot less strict 'requirement' than there is instruction laying about. I (I'm guessing it's not necessary to pitch correct it to the pitch level discussed in that thread either?) guess the time stretching thing is just useful to fit more Timbre inside that small file size. I might try shrinking down some audio by much smaller amounts, and see what happens.
I'm still 100% baffled as to why the two sounds I put in sound 100% identical when auditioned in Animoog. Here are the two files, if there's anyone who can shed any light on this?:
https://db.tt/zfVSD6iIym
Hm… They sound rather different to me, both when you audition each timbre and when you play with them in a preset. The wolftone one sounds glassier to my ear. And it’s definitely audible when you go from one to the other. (Using the default preset, put the “drum” timbre in the first four timbre slots and the “wolftone” one in the last four timbre slots.)
In both cases, getting a bit of the vowel formant character, but not much, considering the source.
Gives me some ideas for experimentation with Alchemy’s wave morphing affordances. Have you tried that, by any chance? You might enjoy it.
how the hell does animoog not have link or midi clock?