Malström Sound Programming
Sounds (4)

Now select a more complex wavetable, such as "Throat" (like "Elektronik," it's part of the "Voice" group).

With the motion knob set to -64 (off) and the index slider set to somewhere in the middle, hold down a note and move the shift knob up slowly, then down to zero and below - that rubberband effect I described earlier is much more pronounced, because a complex wave has many more harmonic components than a pure sine wave.

One more experiment with shift:

  • Reinitialize the Malström.

  • Select the "FemaleChoir" table (yep, "Voice" group...)

  • Set the motion knob to about -20 so Malström will move through the grains at a slow to moderate rate.

  • Increase the Attack and Release settings of the Osc A envelope to around 80, so that the sound fades in an out as you play notes.

  • Play a major or minor chord somewhere near middle C.
Move the shift knob up to around 50 and you'll hear a high-pitched, somewhat clangorous timbre that almost completely obscures the actual notes you are playing. If you have a dog or cat around, this sound will likely drive them nuts.

Now move the shift knob below the zero point to -35. The Female voices will now sound muted and breathy, almost (but not quite) as if you've applied a lowpass filter to the signal. Move the shift knob to about -20, and set the octave knob from 4 down to 2. Suddenly, the female choir is starting to sound male - this is because we are changing both the pitch and the harmonics of the female choir sound.

The octave, semi and cents knobs work the same way they do with the Subtractor's oscillators.

The "A-D-S-R" amplitude envelpe of an oscillator works the same way as the VCA does in the Subtractor; note, however, that there is no overall amplitude envelope on the Malström - only for the individual oscillators. (This actually gives the Malström a bit more flexibility than the Subtractor in this regard.)

That pretty much covers the oscillators - now let's move on to the modulators.

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