But I also use a hydrasynth that utilizes 2 filters in my audio path, with 17 filter types to choose from. This allows you to control the “brightness” of the sound.Ī single HP/BP/LP filter would be enough, and I know that plug-in exists. You can also apply an envelope or LFO on the VCA for volume control and swells.Īnd finally, one or two filters (High pass/Band pass/Low pass) with either a 6,12, or 24 dB filter. If there is a VCA (voltage controlled amplifier) plug-in, put this in before the filter. But it will chew up the CPU most likely.Ī lot of people apply LFO’s to the filter for automated filter sweeps, or to the VCO’s themselves for timbre change, etc… The more LFO’s the more complex you can make your sounds. You will most likely want a modulator like an LFO for automation. Slow attack, long release for pad sounds etc… ADSR envelopes are preferable for certain sounds, and is what I recommend to use. These help shape the way the sound behaves. This raw VCO signal will need a few more plugins.Ī mixer for the VCO’s if you are working with voices greater than monophonic.Įnvelopes that can do Attack/Release, or Attack/Decay/Sustain/Release.
#BASS MICROSYNTH MOD PATCH#
What I think might work, is finding a plug-in that listens to the incoming audio note, and converts it into a midi message.įrom that midi converter, you should be able to patch it into a separate midi chain that consists of however many VCO’s (voltage controlled oscillator) you need (monophonic, duophonic, paraphonic, or polyphonic) and what wave shape (Saw, Sine, Pulse, triangle, waveform, etc…) while being mindful of cpu usage. My studio is ripped apart right now because I had to convert it into an office space while I have been in driving school (passed all online stuff, tomorrow I head south to attend on road classes) so I can’t look at my plug-in options.Īs a synthesizer player, sound design is a big deal, but it takes a lot of work.Ī mapping in my brain that I have to potentially accomplish what you would like to do would take considerable work. FILT - Modulated filter effect like those on classic analog synths.So I’m looking at the SY-1 and it does seem simple to use for guitar.Select your main pitch shift and modulate around it. PHASE - A classic phaser effect like the EHX Small Stone.TZF - Through Zero Flanger, a flanger effect that crosses through the "zero point" of the sweep where the modulated delayed signal meets back with the dry signal.FLANGE - A classic swooping flanger effect, a modulated delay signal mixed with the dry signal.ROTARY - A simulation of a rotary speaker cabinet.CHORUS - A classic warbling, doubling chorus effect like the EHX Small Clone.UNI - A simulation of the swooshing Univibe efect.VIBR - A classic vibrato effect, modulating the pitch of your guitar.HARM - Harmonic tremolo, a lush tremolo effect found in some vintage tube amps.TREM - A classic tremolo effect, modulating the volume of your guitar.
#BASS MICROSYNTH MOD MOD#
The Mod 11 is modulation with warp drive! It also features Tap Tempo controllable via the built-in footswitch or an external one. The Mod 11’s Momentary Mode lets you seamlessly switch in and out of effects mode for quick accents. From simple, subtle warbles to out-of-this-world special effects, the MOD 11 has got all of your modulation needs covered. Tap tempo, multiple LFO shapes, envelope controls, and momentary mode are just a few examples of deeper options available on the MOD 11.
The MOD 11 is designed to be simple to use for those looking for fast, plug-and-play ability, but it also features deeper functionality for players who want more control over their modulation effects. It gives you access to powerful yet intuitive “hidden” parameters accessible through its Secondary Knob Mode which let you take even greater control over its effects.
#BASS MICROSYNTH MOD PLUS#
The Mod 11 is packed with 11 different modulation effects that range from classic to exotic plus advanced functionality all in a compact pedal.
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