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Rossum Panharmonium Resynthesizer
MUFF WIGGLER Forum Index -> Eurorack Modules Goto page Previous  1, 2, 3 ... 10, 11, 12, 13  Next [all]
Author Rossum Panharmonium Resynthesizer
Pailo
Take the STO from Make Noise.
Feed the wave folded wave into the input of Panharmonium.
Take the Sub OUT and patch it into the V/Oct.
I don't know what it is doing but its like a melody appears out of nowhere.

Strange and fun. hmmm.....
thetwlo
here's a quick example, not the best, wasn't going to put it up since it has a lot of reverb. It's just a simple rhythm from the Assimil8or into it:

[s]https://soundcloud.com/user-91119069/panharm-quick-edit[/s]
JES
The examples coming through are pretty interesting. Please keep posting them. Feel free to use all the reverb you want.

In the meantime, at the risk of triggering some people from earlier in the thread when this was still a "coming soon" sort of deal (<--kidding about the triggering part), I know this isn't a vocoder, but it does seem a lot like some of the software I have that uses phase vocoding. Looking at this explanation: http://www.panix.com/~jens/pvoc-dolson.par it seems to be pretty similar in layout even though there all sorts of additional possibilities (FM, oscillator type not just sine, etc).

Can someone explain to me how it's NOT a relative of a phase vocoder? I would be grateful just for the clarification.

PS -- if you don't know what a phase vocoder is, the above link is a decent explanation. It's not the same thing as a regular vocoder at all, though they're historically related.
starthief
I'm not a DSP expert by any means but I would say it's certainly related to a phase vocoder. I believe what it's doing is:

-- using FFT to do the analysis
-- filtering the FFT results with bandpass/notch
-- sorting them by strength and keeping the strongest 33 frequencies
-- feeding those to an oscillator control section with slew on the amplitude (blur) and frequency (glide)
-- oscillators can exponentially be pitch shifted (freq, FM, V/OCT) or detuned relative to each other (warp) and have selectable waveforms
-- internal VCA per oscillator, controlled by spectral data and wave crossfading

Instead of a phase vocoder:

-- use filter banks to do analysis
-- optional: monkey with the levels
-- use oscillator banks to do resynthesis
OR
-- use FFT to do analysis
-- optional: monkey with the data
-- use inverse FFT to do resynthesis

I've used the latter technique in a few VST plugins. Just selectively zeroing amplitude on the weakest or strongest bins can be kind of neat.
starthief
Also there may be some extra psychoacoustic wizardry going on in their algorithm -- as in, choosing the most "important" bands rather than necessarily the strongest amplitude ones, according to how the others are clustered.

Or not, I have no idea. smile
boramx
i noticed the lag in one of the earlier demos and didn’t seem too bad. hows is it for you current holders?

given what startheif says about the wet stereo - i kinda wonder why it needs to be stereo at all unless the lag is so insignificant that one would use it often as an effect with the dry signal present.

my first thoughts re:stereophony was giving it two rather different signals at LR and getting interesting effects with pure wet results.
starthief
This is the second time in two days I have tried to post and the post just disappeared into the ether. First time I thought it was my own mistake...

Anyway. A sound example.

http://starthief.net/stuff/panharm1.flac

DPO -> Panharmonium -> delay -> feedback into Panharmonium

Mid/side before and after Panharmonium in the feedback loop.

Just messing with knobs unscripted, with a Marbles sequence. At one point I kind of screw up and freeze Panharmonium but don't silence the DPO which is still sequenced and it's dissonant as hell.
starthief
boramx wrote:
i noticed the lag in one of the earlier demos and didn’t seem too bad. hows is it for you current holders?


Latency seems to be somewhere in the 40ms range, but I think it varies with the slice clock.

http://starthief.net/stuff/panharm_latency.wav

This is a short "tick" from Rings in the left channel, Panharmonium's output in the right channel. No blur or feedback, 33 sine oscillators. I start at the fastest available slice time and turn up the multiplier as it goes along.

(And yeah, it can sound a little weird with inharmonic inputs.)

Given the slice clock's max resolution is 17ms, it almost always sounds better if you slow it down, sync to a musical clock or else blur and feedback it.


Here's one where I'm just triggering Rings strum, syncing Panharmonium to the same clock, and giving Panharmonium Voices and V/OCT some very simple sequences. Panharmonium wet goes through Natural Gate, triggered by its slice clock output. I tweak the feedback, clock multiplier and octave. Not musically sophisticated or anything hihi

http://starthief.net/stuff/panharm_simple.flac
Mend
starthief wrote:
This is the second time in two days I have tried to post and the post just disappeared into the ether. First time I thought it was my own mistake...

Anyway. A sound example.

http://starthief.net/stuff/panharm1.flac
This is beautiful. Going to try something similar.
Funky40
starthief wrote:

Here's one .........


yeah, feed the people who can´t get one cause of space limitations and/or uncooperative banks.
Its like getting a "dessert surprise" Mr. Green
starthief
A fun patch:

VCO -> Panharmonium -> VCO's FM input

Monitor VCO and/or Panharmonium.

Works best with fewer voices. Blur and feedback can give interesting results too as you add/remove voices or octaves or slightly warp the frequency structure.

I was using it with FIlter 8's expo FM input, but I'm curious to try it with TZFM. It's not quite as impressive with AM though smile
starthief
Here's the patch I mentioned above. Plus some background noise from E370 modulated by Kermit, and a sub drone from Rings in FM mode (which might not even be audible at this point). Valhalla delay and reverbs.

[s]https://soundcloud.com/starthief/convergence[/s]

No sequencing -- all the pitch shifts are due to FM, and Panharmonium's delayed response to its own influence (I used a slow clock).

This was a couple of different takes mixed. Out of several takes, because finding the outlines of the sweet spot without screwing everything up was difficult.

On the other hand, when I tried stabilizing the pitch with a PLL, it was rock-solid and I could do almost anything on Panharmonium without screwing things up too much -- albeit with a certain minimum threshold of buzzy weirdness. I might have to go back to that sometime and sequence the reference oscillator.
damase
starthief wrote:
This is the second time in two days I have tried to post and the post just disappeared into the ether. First time I thought it was my own mistake...

Anyway. A sound example.

http://starthief.net/stuff/panharm1.flac

DPO -> Panharmonium -> delay -> feedback into Panharmonium

Mid/side before and after Panharmonium in the feedback loop.

Just messing with knobs unscripted, with a Marbles sequence. At one point I kind of screw up and freeze Panharmonium but don't silence the DPO which is still sequenced and it's dissonant as hell.


wow, wonderful sounds here. think that seals it for me

kind of surprised at the latency, and also the surprise that its not what i would call “true stereo”. although i do think mono fx are more patchable so maybe its a good thing
starthief
FFT always introduces latency... you have to scan a certain number of samples before you can detect frequencies in it Mr. Green
damase
that does make sense, thank you
desolationjones
Have had some success syncing up the dry and wet signals using d0.

I don't know whether the Panharm architecture allows, but an internal setting for delaying the dry signal would be ace.
starthief
In the two tracks I've recorded so far with Panharmonium, I've had a lot of little glitchy click-like noises that RX6 Declick doesn't detect and required tedious manual cleanup.

With some experimentation, I managed to reproduce it in a simpler case. This is a sine in a 4-note sequence, with the clock synced to it.

Multiplier: 2
Voices: 4
Blur: about 9 o'clock
Feedback: 0
Wave: sine
Glide: 0, then I turn it up near the end.
Octave: 0
Mix: full wet

http://starthief.net/stuff/panharm_glitch.wav

There are no effects on this; the echo comes from the clock and blur. So do the glitches.

It seems like oscillators are kicking in just a tiny fraction of time before they have the proper pitch, so the "click" is the sound of them starting at the wrong frequency and sliding into place quickly. You can hear when I turn up the glide, the glitches go away.

It isn't audible on the crossfading sine, or if the blur is enough for the clock speed (faster clock seems to need more blur) or there is no blur.
Daisuk
Kind of interested in this, but something tells me it probably looks a bit cooler than it sounds. Keep the demos coming. Would love to hear something a bit more melodic and less droney if someone's up for it (preferably using source material that isn't a synth). Mr. Green

Here's a demo I stumbled upon with some interesting things. Ultimately, I don't think it's for me, but it's quite cool none the less - I just don't immediately see the musical application for it, I guess.

starthief
I don't think running a full mix into it really is that useful a thing to do, even though that's how Rossum demo'd it. I tried snippets of 5 songs just this evening and... nothing good comes out IMHO.

I think you have to cherry-pick the content and dial in the filter to get a better result, and even so I'm not sure it's musically useful. Also drum loops don't sound great with it either, even in "drum mode".

It might be good with vocal only tracks, or other solo instruments, not just synths -- regardless, I think for the most part it's at its most musically useful at slower clock rates or synced, not trying to recreate as closely as possible.

I could see using it for things like following a vocal and then sending the output to a vocoder with the dry vocal (though the dry signal might require a delay to compensate for latency).
Sinamsis
I guess you could also run the dry signal into both the Panharmonium and something like a Fumana or even a basic envelope follower, take the Panharmonium into a VCA modulated by the envelope(s) from the Fumana to make it less droney. It's still not my cup of tea, I would be much more interested in something that generated CV rather than audio. But I could see why others might be into it.
starthief
The "droney" part is more my usage of it, both in terms of input and using a slow slice clock. It does follow input dynamics. But then that has the drawback of latency and the slice clock resolution, and the influence of blur and feedback. It's very "program dependent".


One patch I thought about and am too tired to try right now:

- Patch audio source into Panharmonium.
- Set it to 1, maybe two oscillators. Square. Other settings tuned to achieve best results.
- Patch full wet output to a PLL's "signal in" input. Set up another VCO to track with the PLL. (Homebrew PLL with XOR and slew might work here.)
- Mult the pitch CV to a notch filter.
- Run the audio source through the notch filter. Mix the Panharmonium output with that.
- Voila, you have just replaced the strongest frequency band in your audio with a squarewave, in an extremely gnarly way that might not work at all, might sound horrible, or might sound horrible in an awesome way.

I feel like this is a "galaxy brain" sort of module. It takes some doing to overcome the limitations, and it also encourages patches of types never seen before.
Daisuk
starthief wrote:
I don't think running a full mix into it really is that useful a thing to do, even though that's how Rossum demo'd it. I tried snippets of 5 songs just this evening and... nothing good comes out IMHO.

I think you have to cherry-pick the content and dial in the filter to get a better result, and even so I'm not sure it's musically useful. Also drum loops don't sound great with it either, even in "drum mode".

It might be good with vocal only tracks, or other solo instruments, not just synths -- regardless, I think for the most part it's at its most musically useful at slower clock rates or synced, not trying to recreate as closely as possible.

I could see using it for things like following a vocal and then sending the output to a vocoder with the dry vocal (though the dry signal might require a delay to compensate for latency).


Thanks a lot for the info and all the demos in the thread. Really appreciate it. smile
Jumbuktu
I am kind of surprised no one seems to have tried a patch that uses it as a sound source, playing a captured spectrum as a single voice, with modulation. Even one of the factory preset sepctra would be nice to hear. But maybe I missed that.
Dcramer
So is it capable of letting you redefine the resynthesis sines to you own individual tunes? Or must it always use the sines to try to recreate the input harmonics? hmmm.....
starthief
Dcramer wrote:
So is it capable of letting you redefine the resynthesis sines to you own individual tunes? Or must it always use the sines to try to recreate the input harmonics? hmmm.....


It tries to recreate the input harmonics, but you can hold down a button and turn a knob to "warp" them (different detuning per oscillator). You can sometimes get it back into harmonic territory, especially with a smaller oscillator count.
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