3 Dec
2015
3 Dec
'15
6:29 p.m.
On Thu, 3 Dec 2015 09:48:54 +0100 (CET)
"F. Silvain" <silvain(a)freeshell.de> wrote:
Always helpful. I'm also rather leaning towards the idea of it being an
instrument parameter, only it would have to be placed where it's really obvious,
or it could cause players considerable alarm!
--
It wasn't me! (Well actually, it probably was)
... the hard part is not dodging what life throws at you,
but trying to catch the good bits.
Will Godfrey, Dec 3 2015:
...
Yes, it was hardware synths where I first came across this myself. Also, I've
heard of it in software on some 'other' platforms. I've not come across it
anywhere else here (might be just lack of knowledge on my part).
I'm wondering what use (if any) others have
made of it, or even if anyone has
recognised what it does!
I haven't used it in Yoshimi, but a few of my
hardware synths have the same feature, which I've used a couple of times. In very
small amounts it's very useful for emulating acoustic instruments, add some life to
the sound and some almost chorussing between sustaining notes. Currently this
setting isn't saved. It's still classed as an experimental
feature. Also, if we keep it and want to save it, should it be an individual
instrument parameter or applied for that part in a complete patch set?
Where it is
added more or less directly as a feature, it is normally save as an instrument parameter,
which has worked just fine for me. Through mod matrices I've used a similar feature on
one oscillator, which might translate to one engine of a patch in Yoshimi. Though there
are other features like slop (emulation of analogue detune), which can do the trick there
and Yoshimi has the pad synthesis, which sounds very alive and moving. So without having
programmed Yoshimi itself, I'd still say having it stored as a setting for a single
patch (all engines) sounds sufficient.
This is not exactly, what you asked, but I hope it's helpful nonetheless.
...
Ta-ta
----
Ffanci