Lately, we’ve done a few tutorials utilizing the Sine Bank and Modal Bank modules, which share many common characteristics. Today, I’d like to share Modal Generator, a simple ensemble inspired by my re-discovery of the Metalon ensemble from the User Library. Metalon generates a random sound and records it to a Tapedeck module. If you like the sound, you can save the data in the Tapedeck as a .wav file.
MODAL GENERATOR
The engine for Modal Generator is simple – given a number of partials (read this if you don’t know what partials are!), and a maximum frequency for those partials, a new sound is generated for each new MIDI note received. Each partial is assigned a random frequency (within the chosen range), amplitude, and decay time. Further, the knobs controlling the parameters of the engine (Maximum frequency, etc) can be randomized on a new note as well. This way you can create sounds that are completely random, or set some chosen parameters and generate within that range.
In order to turn randomization on or off for any knob, you can simply select the proper value in the ‘Mrph/Rnd Isolate’ checkbox in the FUNCTION tab of the knob properties.
When this box is selected, all randomization events are ignored by this knob. I have everything but the Level knob set to random by default. With a ton of partials, the sound coming out of Modal Generator can be a little bit clangorous sometimes, so it’s good to keep the level at a safe amount.
POSSIBLE IMPROVEMENTS
As of right now, the engine for Modal Generator couldn’t be simpler:
The input of this macro is connected to an Iteration module that sends a number of events chosen by the Partials knob. For each partial, the Ratio (frequency) is set between 0 Hz and 1, where 1 represents the maximum frequency. An amplitude for the left and right sides is generated as well, along with a decay between 20 and 60 (which corresponds to decay times of between 10 ms and 1 second).
I’m currently in the middle of sketching out some ideas for a larger engine built around this idea. There are many more parameters that could be added to create more depth and possibility to the sounds generated. A simple example would be to include tuned sounds – the current atonal engine is great for certain sounds, but with a large numbers of partials, most of the sounds become too similar as a result of their random distribution. As a result, some of the most interesting sounds are actually ones with less partials.
Another thing that would be nice is to have the ability to create sounds with continuous inputs as opposed to the simple impact sounds generated by the current engine. Moving the partials frequency as the sound is playing is another option that could add a lot of depth – each partial could get it’s own trajectory and speed generated individually.
Obviously, some of these ideas are more easily implemented than others.
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