tag:blogger.com,1999:blog-1249615655314260587.post7927151212976820992..comments2024-02-21T01:04:06.333-05:00Comments on Synth Hacker: Polysix Drive - Diode DistortionChiphttp://www.blogger.com/profile/10352943033779293161noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-1249615655314260587.post-61110212069247215652021-09-20T04:40:17.213-04:002021-09-20T04:40:17.213-04:00This comment has been removed by a blog administrator.suissuhttps://www.blogger.com/profile/17347009912896390983noreply@blogger.comtag:blogger.com,1999:blog-1249615655314260587.post-27937750739437686992015-12-02T23:47:54.894-05:002015-12-02T23:47:54.894-05:00Sorry, my mistake on the pre/post filter positioni...Sorry, my mistake on the pre/post filter positioning... even with guitar, you can do it either way. Glad you thought there was some relevance to my comments, I must be learning something myself along the way afterall. ; )<br /><br />Unless the configuration of the filter is a cascade of -6db stages, then it's not likely you can just tap a point along the way for -6/-12/-18/-24, but that would be very cool, wouldn't it? Not to mention very versatile, sonically speaking.<br /><br />Or consider mapping velocity to modulation, per each note in a polyphonic manner, would be pretty wild and verging on CS80 territory, with its polyphonic aftertouch... imagine a sequence of notes, each note having a varying tremolo or whatever you've chosen - tempts the imagination if nothing else. ; )<br />Anonymoushttps://www.blogger.com/profile/09019499460028607916noreply@blogger.comtag:blogger.com,1999:blog-1249615655314260587.post-79248635884772191832015-12-01T10:23:29.781-05:002015-12-01T10:23:29.781-05:00To be clear, my attempts at adding overdrive/disto...To be clear, my attempts at adding overdrive/distortion are all after the Polysix's filters. So, I'm not trying to do anything to the filter. I'm merely adding grit after the voices have been generated but before the chorus/phase/ensemble effect has been applied. So, given this location in the circuit, I'm not sure what you mean by "pump a harmonically rich distortion through it [the filter]".<br /><br />But, I do think your comment about the Polysix having a 24 dB roll-off filter is an important consideration. I think that the auditory impact of having velocity mapped to filter cutoff (which is what I did) might be more pleasing, more EP-like, if the filter were not so sharp. I bet it would feel more natural if it were a 12 dB filter instead of a 24. I hadn't considered that. Thanks for bringing it up!<br /><br />Unfortunately, isn't the SSM2044 chip in the Polysix inherently a 24 dB filter? If so, I think that hacking a 12dB VCF into the Polysix is beyond my synth hacking abilities.<br /><br />Good discussion!<br /><br />ChipChiphttps://www.blogger.com/profile/10352943033779293161noreply@blogger.comtag:blogger.com,1999:blog-1249615655314260587.post-22078315030483665862015-12-01T07:53:05.857-05:002015-12-01T07:53:05.857-05:00The SSM2044 in the Polysix is known to be a 'm...The SSM2044 in the Polysix is known to be a 'mellow' sounding filter, it may be a bit contradictory to try and push that into sounding like a different filter? Better to treat the sound after the fact, otherwise you're fighting -24dB roll off and going to lose those additional harmonics rather quickly? If you had a -6db rolloff, even -12db, then you have more of a rolloff to accommodate those higher harmonics... that would be my 'qualitative' take on the scenario. If you want to prove it out, take an SSM2044 chip and breadboard it with those 3 scenarios' (-6 vs -12 vs -24db rolloff) then see the results when you pump a harmonically rich (distortion etc.) through it. May also be why they use bandpass in a Wah since it is 'keeping' the frequencies of interest and you get two roll-offs to create phase shifts that further affect the sound... again, more of a qualitative take on the whole scenario...Anonymoushttps://www.blogger.com/profile/09019499460028607916noreply@blogger.com