Thanks for the heads-up on vibrato. My dips are a little too deep, it seems. My ears had grown too used to the sound. There's some more to discuss on this topic, though.
Different physical instruments achieve vibrato differently. With flutes and woodwinds, it is relatively easy to produce the downwards motion, but if you try to push upwards above the initial pitch, the air pressure starts to affect timbre and amplitude more than it affects pitch. To a flutist, a vibrato is a repeated series of dips
. It results in an average lower pitch, which i think is probably why many composers facilitate flutes to achieve moaning, mystical or supernatural parts, other than its somewhat hollow timbre.
I tried your pitch-even vibratos, but unfortunately the instrument lost its flute character, accordingly.
Steps taken to achieve a nicer vibrato that is still true to flute characteristics:
1) Flute vibrato changed to 0 | 1 2 0 0 0 0 -1 -2 0 0 0 0.
This is still a downward dip but doesn't go as far, so it sounds less sour, especially on higher notes.
This setup causes the square tone to make a click sound on some 'note on' events (which i think have to do with the pulse cycle being tickled to reset), so
2) Created a second instrument using one of your even vibratos: 0 | 1 1 0 0 0 -1 -1 -1 -1 0 0 1 1
for use any time the sound is clicking too sharp for my taste.
I think this compromise works out. Hopefully those clicks in the attack of a note remain consistent.
encounter_intro_or_story4d.ftm [15.2 KiB]
Downloaded 13 times
(edit: forgot to repoint the noise swoosh to the right instrument in the outro, so it sounds wrong in this snapshot)
Thanks! I haven't had the time to try these out yet, but you must've noticed my infamilarity with drum synthesis on the 2a03 (It's a bit different from how i go about it on a synth). Will try and experiment with those as soon as there's time.
On that note, i came up with this table for using 1xx/2xx for creating Tim Follin-esque kick/tom+bass notes (as heard in Solstice). It's maybe a fool's errand to approach it this way but it works within its conditions. The same technique (ofter in smaller amounts and/or with quicker slopes) can be used in synthesizers to give deep notes a bit of extra punch.
Assuming conditions: Speed 7, tempo 150, 2xx directly followed by 200
tested on NTSC tri wave. 2xx works as coarse tuning, starting note as fine tuning. It is consistent for a while on this speed, then up the scale, it gets a little cryptic to achieve the right pitch. Done by ear, hopefully there's no mistake.
Note* | 2xx | Starting note:
F-1 2AC F-5
F#1 2A2 F#5
G-1 299 G-5
G#1 290 A#5
A-1 288 A-5
A#1 280 A#5
B-1 279 B-5
C-2 272 C-6
C#2 26C C#6
D-2 266 D-6
D#2 260 D#6
E-2 25B E-6
F-2 256 F#6
F#2 251 F-6
G-2 24C F#6
G#2 247 E-6
A-2 243 F-6
A#2 23F F#6
B-2 23B F-6
C-3 238 G-6
C#3 235 G#6
D-3 231 F#6
D#3 22E G-6
E-3 22B G-6
F-3 219 G#6
F#3 226 G-6
G-3 224 A-6
G#3 222 A-6
A-3 220 A#6
A#3 21E A#6
B-3 21C A#6
*the desired landing note for the bass line