#N canvas 168 53 681 497 10; #X obj 66 261 NoiseOsc~; #X obj 42 318 dac~; #X obj 66 239 vline~; #X obj 43 141 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144 -1 -1; #X obj 43 161 t b b b; #X obj 16 212 vline~; #X obj 52 285 *~; #X obj 96 161 NZ1024; #X msg 16 189 1 5 \, 0.7 30 5 \, 0 150 65; #X text 71 138 <- Bang to hear; #X text 146 160 <- 1024 sample noise arry; #X text 170 188 <- VCA envelope; #X msg 66 212 600 0 \, 300 20 0 \, 180 100 20; #X text 246 213 <- VCO envelope; #X text 21 11 The raw NoiseOsc~ in simple action. Open it to have a looksee. As you can hear it's very useful for creating drumnoisy sidebands even if you prefer electronic sounding drums. But patched the right way you can create very relalistic drums sounds. I havent come as far yet. The next step is implementing filters and reverberation. The examples in the abox circuit rely on various implementations of kelly-lochbaum scattering junctions for verb., f 90; #X text 135 262 <- GUTS; #X text 294 240 <- Control vars; #X text 101 300 The control vars explained: 'PRNi' is the start index for the noise array. Try changing it and see how the texture of the noisy bit transforms. 'shape' controls a crossfader between lines and sines. 1 will give you sines \, 0 will give you lines. 'mix' controls a crossfader between the noised up wave (1) and the pure fundamental (0); #X msg 120 240 PRNi 404 \, shape 0.7 \, mix 0.7; #X connect 0 0 6 1; #X connect 2 0 0 0; #X connect 3 0 4 0; #X connect 4 0 8 0; #X connect 4 1 12 0; #X connect 4 2 18 0; #X connect 5 0 6 0; #X connect 6 0 1 0; #X connect 6 0 1 1; #X connect 8 0 5 0; #X connect 12 0 2 0; #X connect 18 0 0 1;