{"id":4127,"date":"2021-03-31T01:00:57","date_gmt":"2021-03-31T01:00:57","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=4127"},"modified":"2022-01-06T09:47:12","modified_gmt":"2022-01-06T09:47:12","slug":"patch-anatomy-ethereal-beasts","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2021\/03\/31\/patch-anatomy-ethereal-beasts\/","title":{"rendered":"Patch Anatomy \u2013 Ethereal Beasts"},"content":{"rendered":"
\n\"KevinDoran\"\n<\/div>\n

\nGameSynth offers a nifty collection of modules for creating all sorts of vocal sounds. In this patch, we will showcase how to craft the wails and roars of ethereal wraiths and mythical beasts.<\/p>\n


\n\"\"
\n<\/a><\/p>\n

Sound Generation<\/h2>\n

\nGlottis<\/b> produces a throaty harmonic squabble that requires a fair amount of modulation. Creature<\/b> offers a more immediately usable vocal wail that leans into vibrato for defining its character. And the Animal<\/b> module is similar to Glottis<\/b> but is more focused on noise shaping. Although each module has a wealth of internal settings to tweak, we can hear the most significant changes by switching the Animals<\/b> dropdown in the Animal<\/b> module. Bat<\/i>, Tiger<\/i>, and Lion<\/i> work particularly well in this patch.<\/p>\n

Control<\/h2>\n

\nThe entire patch is controlled via a single Meta Parameter<\/b> titled \u201cVox<\/i>\u201d, and thus we need to make liberal use of Mapper<\/b>s. For the Glottis<\/b>, it can help to use a non-linear curve to create a natural vocal curve. And since the Glottis<\/b> is ring-modulated by the Animal<\/b> module, this curve will have a knock-on effect throughout the whole project. <\/p>\n

\nThe Pitch<\/i> of the Glottis<\/b> is being modulated directly by Vox<\/i>, as well as by an LFO<\/b>. The LFO<\/b> adds jitter to the signal, and changing its amplitude can produce interesting tonal changes.<\/p>\n

\"EtherealBeasts<\/p>\n

\nMapper<\/b> and Scale Offset<\/b> modules are used for the other generators to reduce the range of modulation shifts. Since the Mapper<\/b> is mapping to a linear curve, the outcome is effectively the same as the Scale Offset<\/b>. The use of both is simply to demonstrate different valid approaches. <\/p>\n

Processing<\/h2>\n

\nThe Ring Modulator<\/b> is the central processor that ties the whole patch together. By summing various modules together and modulating them with a rich source, we can create a new source that is more tonally complex than any single part. <\/p>\n

\nThe Formant Filter<\/b> then simulates the filtering performed by a vocal tract. This filter, together with the Reverb,<\/b> glues everything together and softens the high-frequencies. However, since the attenuation can be a little too severe, we can use a Saturator<\/b> and EQ<\/b> to tune the perfect amount back in.\n<\/p>\n

Like always, this patch will be added to the GameSynth repository. In the meantine, you can download it below.<\/p>\n

<\/div>\n
\n


\n\"download-patches\"
\n<\/a>\n<\/p>\n<\/div>\n

\n\"GameSynth\"
\n<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

GameSynth offers a nifty collection of modules for creating all sorts of vocal sounds. In this patch, we will showcase how to craft the<\/p>\n","protected":false},"author":1,"featured_media":4137,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[6,15,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4127"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=4127"}],"version-history":[{"count":23,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4127\/revisions"}],"predecessor-version":[{"id":4902,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4127\/revisions\/4902"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/4137"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=4127"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=4127"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=4127"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}