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P12 Tricks and Tips

Re: P12 Tricks and Tips
« Reply #20 on: March 21, 2017, 09:04:28 AM »

make a stacked patch of very similar sounds (eg a pad layering) disable the pitchbend on one and set the other one's range to 5 or 7 semitones


Good tips all  8) 

A similar thing to your above idea I like to do...with 4 oscillator sounds (or a stacked voice 8 oscillator patch) I like to set the glide value different for each oscillator, set unison and play very widely separated notes.  The pitch swoops all arrive at the new note at different times for a cool effect.
Mutiny in Jonestown, Progressive Rock Since 1987:

Website: https://wytchcrypt.wixsite.com/mutiny-in-jonestown
Bandcamp: https://mutinyinjonestown.bandcamp.com/

Some of My Other Music Including P12 Recordings lives at: https://soundcloud.com/dennis-m-366105599

W07

Re: P12 Tricks and Tips
« Reply #21 on: May 06, 2017, 04:26:11 AM »
For a moment i thought i'd reached the maximum of what i could do and understand about the P12, but the last few days i've been discovering so many new tricks...this machine is truly very deep.

One of the nicest tricks i discovered recently is stretch detuning. Just turn on 2 oscillators and set up a mod from note played to osc 2 pitch by a value of +-1.
This gives a really nice harmonic detuning.

Another one is setting up a mod slot of a slow looping envelope going to osc pitch by a value of +-1 and then modulating this mod slot with aftertouch, pitchbend or modwheel by a mirror value of -+1 or 2.
You can do this with another oscillator in the opposite direction to for an even more pronounced effect

« Last Edit: May 06, 2017, 04:29:14 AM by W07 »

Re: P12 Tricks and Tips
« Reply #22 on: July 04, 2017, 02:25:38 AM »
Hi, I'm back again, and against the tricky registration... :o

GREAT for Silvain as usual, and in the old forum's original post...(just in case someone wants to get those ones before)
http://dsiforum.com/viewtopic.php?f=27&t=5945&hilit=sounds+design+tips

I have those tricks printed and used them widely.
I'm anxious now to start to test aaaaaall of these ones!!

Let's play!

Re: P12 Tricks and Tips
« Reply #23 on: September 10, 2017, 05:19:30 PM »
I am curious to know how Propheteers are using the 4 LFOs on the Pro 12.  I've never had so many LFO's on a synth before.  I don't know what to do with them all.   :o  It did occur to me to modulate various things on each of the four oscillators independently.  Any tips on how to more fully utilize the LFOs would be appreciated. 

Re: P12 Tricks and Tips
« Reply #24 on: September 10, 2017, 07:00:34 PM »
I actually find myself running out of LFOs, believe it or not.
Most common use for me is multi-osc PWM and super-saw patches (modulating saw waveshape and/or pitch), separately for each oscillator.
Another common use is to modulate separate delay line times to produce a lush chorus effect.
Square wave & beat-synced LFOs modulating pitch are neat for some modular-style melodic sequencing. You can produce some pretty complex sequences by adding multiple square oscillators of different periods and amplitudes.

Re: P12 Tricks and Tips
« Reply #25 on: September 10, 2017, 07:12:21 PM »
I see there are P12 tips mentioned in the giant GS P12 thread that are not mentioned here. FWIW I'm re-posting some tips I posted there a while ago.
Quote
Here are more tips. I have to warn that I may not use the P12 like a bread-and-butter analog synth.
  • Crunch! Variable sample rate! Set Decimate to max, then create a DC modulation to add another 50 to Decimate. Then set two "note" modulations to Decimate, both at -127. Not a PPG, Modal 002 or a Prophet VS, but if those three formed 3 corners of a square, this trick might put the P12 on the fourth. This exploits the per voice sample rate reduction that the P12 offers. Try the non-standard waveforms and lower octaves, or lower+higher notes at the same time.

    The reason for multiple modulations to Decimate is to change the modulation keytrack curve shape. You want it to kick in for lower octave crunch, but disappear as much as possible, and as quickly as possible, to avoid higher octave aliasing. You only get to build "straight lines" in the mod matrix, so the multiple mod routings gets the shape to look as close to what you'd like. This is not "real" continuously variable sampling (with separate clocks for different voices), but it emulates it.

  • Negative ketracking for osc levels with positive keytracking for drive level at the same time. Or vice-versa. Adds tonal variation while keeping the volume constant. Works well with the previous bullet. You can use any other mod source instead of key tracking of course.

  • Aftertouch to tuned feedback amount, set so that you just about get to breaking point with max pressure.

  • The 4 oscs can be manipulated by different envelopes for time-based partials in additive synthesis. You can set the amp env amount to zero here, and control the amplitude levels pre-filter by modulating individual osc levels with envelopes.

    Egs., keep one sine osc pitched very high, but keep the level zero and slowly bring it in with an envelope. This will add some high pitched "ring" to pluck/strike patches, where the other 3 oscs build the "body" of the patch (with a different short-attack envelope modulating their levels).

  • DC and/or slow LFO modulation of VCA in mod matrix (with some non-zero filter cutoff). This is different from the VCA envelope - rather it is direct control of the VCA. Small non-zero values add a hazy "background" of 12 voices, and as you play notes those voices are lifted out into clarity by the filter/amp envelope, and then recede back into the background chorus when released. Gorgeous.

  • Karplus Strong synthesis. Start with a noise-only osc and short envelope to create the "excitation burst". The easy way for KS is to use the "tuned feedback" section with maxed out feedback. The delay time is already "tuned", so you can track the tuning to the keyboard.

    The hard way is to skip the tuned feedback section, and use a delay line. Again, max feedback, and vary the delay time to change the pitch. I find this to be a lot better sounding than the tuned feedback method. Sadly, there is not enough resolution in the delay time (7-bit MIDI grrr) to fully track all useful semitones. You can get partway there by inverse keytracking delay time in the mod matrix, or modulating delay time with 14-bit pitchbend and controlling bitchbend from your DAW to step in semi-tone intervals.

Re: P12 Tricks and Tips
« Reply #26 on: September 11, 2017, 11:54:36 AM »
Hey hey, this is about using four LFOs.
* controller side-chaining: use one LFO to modulate another LFOs speed. Applied with care, you add some randomness and "analogue" feel.
* Sequencing was mentioned, set the LFOs to sqaure wave and the same tempo, manually set the phase, so they span a full cycle and apply the LFOs to all four oscillators in turn with different amounts. You get a sort of sequence.
* Two LFOs with slightly different speed (and optionally different amount) on two delays (best stereo panned) can really do a wonderful chorus.
* The dubstep warbles and wobbles: tempo sync your LFOs, but set them to different divisions of the clock. Tip: make at least one of them a tripplet feel. Allow to change the amount by aftertouch or expression pedeal, modwheel or the touch sliders... You get some expressive dubstep=like performance sound.
* Bouncing ball effect: apply one LFO (slow saw tooth/ramp up) to another LFO's (square wave) speed. Apply that modulated sqaure wave LFO to some sort of volume and you get a sort of "bouncing ball" effect.
* should you run out of LFOs with all the fun: you can always loop the envelopes or try to apply LFOs with different amounts to other things through the mod matrix.
Happy oscillating, Ffanci

Re: P12 Tricks and Tips
« Reply #27 on: September 16, 2017, 08:49:01 AM »
These are great tips, I love them.  Thanks all!

Re: P12 Tricks and Tips
« Reply #28 on: November 26, 2017, 06:43:29 PM »
Thanks so much for this thread!  Please keep the education coming.  Very helpful.  I'd be particularly interested in anyone's suggestions for how to get a good tiney EP out of the P12.

Re: P12 Tricks and Tips
« Reply #29 on: January 04, 2018, 04:52:06 PM »
Stack two similar unison patches, and set one layer to prioritize the highest note while the other prioritizes the lowest. Paraphonic unison synth. Awesome!

ISH

Re: P12 Tricks and Tips
« Reply #30 on: January 16, 2018, 08:49:22 AM »
Stack two similar unison patches, and set one layer to prioritize the highest note while the other prioritizes the lowest. Paraphonic unison synth. Awesome!

Fantastic trick!