Audiobus: Use your music apps together.
What is Audiobus? — Audiobus is an award-winning music app for iPhone and iPad which lets you use your other music apps together. Chain effects on your favourite synth, run the output of apps or Audio Units into an app like GarageBand or Loopy, or select a different audio interface output for each app. Route MIDI between apps — drive a synth from a MIDI sequencer, or add an arpeggiator to your MIDI keyboard — or sync with your external MIDI gear. And control your entire setup from a MIDI controller.
Download on the App StoreAudiobus is the app that makes the rest of your setup better.
Classical Analog Oscillator Wavetables for Drambo
I love Drambo. But find the default oscillator offerings a little short for imitating classical analog synths. I found these free wavetables of several famous analog synths, but most of them refuse to load in Drambo. After a bit of digging around I figured out how to format the files so they would be compatible with Drmabo's wavetable oscillator.
I thought this might benefit others who enjoy working in Drambo, and like myself have a soft spot for old synths. The wavetables are attached here and also uploaded here.
It includes waves from Juno, ARP, SH101, Minimoog, MS20, and a few others.
A quick doodling with some Juno and Minimoog oscillators:
Comments
Sweet thanks for sharing there really good.
That’s great. Thanks a lot for the upload!
Hmm, these are more like 'Single Cycle Waveforms' rather that actual 'Wave Tables'?!
As for the 'Analog Sound' it's more to do with the filters than the actual oscillators so wait and see what Drambo's got in store
Correct, these are single cycles.
I would happily pay for a filter pack in drambo to get more filter flavors. Still, I find that oscillators do make a good bit of difference.
Yepp, Thanks for Sharing!
They work fine in BM3 as well, just have to remember to set the tuning (Read somewhere that for 2048 44.1k samples the root note should be F0 with -23 cents tuning and that seems to be about right after a quick listen).
As for Drambo I have no clue whether the Filters (and how many of them!) will be IAP or part of the 'Drambo Sound'.
They do scream and make the current filters feel a bit pale in comparison...
...should be here soonish I hope
Excellent work, @pampalini, thank you very much!! 😃
Nice! Tyvm.
I've split these wavetables into 4 categories and sorted them by sound, then merged them into 4 wavetables:
Awesome, thank you.
👍🏼😇
👍
Asking for a friend that's clueless: Can someone with the time explain what we can do with these 4 wave files?
Drambo is likely but can we also use them in other apps like WaveStorm or maybe audio layer? Just curious. Opps. My friend is curious, I suspect.
I got a gift and it doesn't have a manual. Well, my friend got the gift and left me a message for tech support. I need to do this research before returning the call.
Drambo can crossfade between waveforms that don’t have their own transitions in the audio file. Not sure about the others.
Can someone implement this in a patchstorage downloadable file to save hours of research?
For my friend?
Done.
https://patchstorage.com/analog-wavetables-demo-2/
Tx!
FWIW, single-cycle waveforms qualify as wavetables. They are simply wavetables with only one frame.
While it is true that the filter character is a huge part of an analog synth's character -- the waveforms are important, too. The square wave of a Moog sounds quite different from a digitally-computed square wave (and all the classic analog synths' pure waveforms sound different from one another) -- and a Buchla's triangle wave and sine wave have distinct characters. A friend who wrote a virtual analog synth years ago when processors were slower commented that using a single-cycle wavetable made from samples of his Moog sounded better and used way less computing power than the output of his virtual oscillator.
Thank you.
Are there other apps that can do the crossfade and benefit from these Waves?
Most synths that can read wavetables (like Synthmaster One) can use them.
SynthMaster One can do it...
(You can Drag'n'Drop the .wav file over the oscillator Icon to import the file).
I don't understand why they refer to those as wave tables. They're individual single-cycle wave forms.
I've always thought of wave-tables as collections of wave forms in a single file that you can select and/or morph between in a wave-table synth.
A "table" is something containing multiple items. It can contain just one item I suppose, but seems like a contradiction in terms to me.
Well, I dunno. Gospel Musicians refers to them as wave tables. Other people do too. So maybe I don't know what I'm talking about as much as I think I do. Wouldn't be the first time.
When I was first working on computer-based synths early (80s), single-cycle waveforms were called wavetables and were used to distinguish them from waveform generators that generated the samples mathematically. At the time, this was table is in 'lookup table' or array. At that time, a wavetable (in the context I was working in) was more likely to be a single-cycle waveform than not. Programmers still talked about single-cycle waveforms stored as arrays as wavetables even a few years ago.
A single-cycle should be called a WavePlate.
A row of such plates should be called a WaveTable.
A collection of such Tables should be called a WaveBuffet.
Someone that creates these data structures using recording, math or found data should be
termed a WaveChef.
Consumers of these artifacts could be called WaveEaters.
Eat up.
"A rose by any other name..."
Concur. Thanks for you both.
This Wiki entry might help with the nomenclature. Apparently the "table" refers to a look up table from which successive samples are selected. It may be a single cycle or a collection of them.
One major difference with the sample player is that you can use nonlinear look up methods to get various kinds of wave shaping.
The whole naming of ‘wavetable’ has been irretrievably buggered up through history since its inception.
Basically when there were lookup tables which were read out at audio rate, as an alternative to generating a waveform in the analogue domain, we might easily have called these lookup tables ‘wavetables’, as after all, it’s a table, and the content of the table is a waveform.
Typically it’d be a single cycle, in the same way that a VCO will generate a single cycle, over and over and over. The main thing is, we’ve got a much more stable way of pumping out a waveform than a temperature-sensitive VCO which would be not the same yesterday as today, not the same as a neighbouring VCO, not the same as a similar VCO on another synth of the same model. Solved, at last. Simply read out the values of a lookup table, over and over and over, very fast – and this solution was cost-effective (or just about to be).
What about an evolving sound, such as a modulation from one state to another, as you’d find in a PWM excursion, or later in the chain, a filter cutoff excursion? How do you handle that? One solution was to have more than one lookup table. Many more. As many more as you want steps between the variations in the range of your harmonic excursion. 64 do? Probably. Okay, let’s have not just one lookup table, but 64 of them, each one representing the waveform at each one of those 64 steps of harmonic evolution from one end of the modulating excursion to the other end. It’d work for PWM, it’d work for any other waveshape modification, but wait, it’d also work for a filter sweep. Just have a set of tables progressing from a representation of the waveform at minimum filter Fc, through all the intermediate tables, to the final table representing the waveform at maximum filter Fc. Now all we need is to not only keep reading out one of those tables over and over and over, but hop from one table to another now and then. We can jump from one table to another, then the next, and so on, under control of something, like an envelope or an LFO or something like that.
As soon as Wolfgang Palm came out with a product that did that, we had a new and fairly firm definition of what a wavetable is, because he used that term in the PPG synths he made. These were wavetable synths, transitioning or modulating through a third dimension of tables was now the definition of wavetable. Everyone agrees, problem solved.
Well, it was, until the ex-Emu people came along with their Creative Sound Blaster sound cards, which although impressive and technically very advanced, blurred the terminology irreversibly and confusingly. What they had was sample-based synthesis, but what they called it was ‘wavetable synthesis’, which conflicted with the then-established use of the term. As a result, now, one person saying ‘wavetable’ probably doesn’t mean what the other person thinks it means.
https://en.wikipedia.org/wiki/Wavetable_synthesis#Background