• oid

    @catherder-cowboy

    Generally you can set the theme on a per application basis, Xubuntu/Xfce uses GTK which makes it fairly simple, this link seems to have a good amount of info and should lead you to an answer, been to long since I have played around with themes much so I can not offer much in the way of direct guidance. https://unix.stackexchange.com/questions/14129/gtk-enable-set-dark-theme-on-a-per-application-basis

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  • oid

    @JackOats Like this?
    Untitled.png

    Can be used for audio rate as well, but you change the receive with a [set( instead of using the sends right inlet. The help file for [send~] should make it clear enough.

    Edit: you wanted an external, disregard. There are are quite a few multiplexer/demultiplexer externals, zexy has [mux] and [mux~] and [demux] and [demux~]

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  • oid

    That synth has a fairly standard patch layout so you could download the sysex patch file for a similar synth and throw together a quick patch to convert the sysex patches into the needed format. Should get the sounds close enough and probably would take less time than compiling a pile of patches from people and you can include that patch with your MobMuPlat patch so people would be able to use any patches people have made for the donor synth.

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  • oid

    @jaffasplaffa Yeah, it is overkill for a bass synth, just threw it out for the info. Craig Anderton wrote an article on putting the theory of the Hutchins article to practice, he tends to be more practical and less theory than Hutchins and his article may give you the exact mixing ratios for the various modes if you want to avoid the math, a search for "Craig Anderton Multiple Identity Filter" should find it. There is also some information in the Matrix 12 and Xpander service manuals. I do not recall how into depth any of these go, but they are certainly more terse than Hutchins.

    The pulse really does need to be reworked, I was heading out the door and threw it together quickly in a way that would clearly show how it was done, the [send~] and [recieve~] is a little silly, a couple [*~] would do better and and make PWM much simpler, using the triangle to trigger the threshold might be better, or skipping the triangle and just using a copy of the saw which is 180 degrees out of phase to get the other half. It was done lots of ways in those days. These early waveforms were not completely accident or a failing of the technology, Bob could have gotten perfect waveforms if he wanted them, but perfect waveforms are less useful when it comes to subtractive synthesis, having some extra harmonics to play with is good. While the triangle has a fairly saw like sound to it, once you run it through that filter of yours you will easily be able to get a great sounding triangle when you need it, and unlike a more pure wave you can easily add in more harmonics, even with a very simple signal chain like you have in the mini, just turn up the cutoff frequency or use the filters envelop to do it for you if you want a more dynamic sound, or turn up the triangles volume on the mixer to drive the filter harder and get some distortion, no need for waveshapers or more waveforms. Bob really knew what he was doing, unfortunately others said "our waveforms are more pure!," the market followed. The mini is probably the most nuanced synth ever designed.

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  • oid

    @jaffasplaffa and @tungee You should be able to do pole mixing with this filter to turn it into a multimode beast like Oberheim Matrix 12/Xpander 15 mode VCF. http://electronotes.netfirms.com/EN85VCF.pdf

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  • oid

    @lysergik I get no interactions between subpatches and see nothing obviously wrong, but it is a rather large patch to just blindly dig through in the hopes of finding the situation which causes your issue. Would need some more information, like when exactly it has these issues, what changes do you make that affect the copies?

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  • oid

    @jaffasplaffa The oscillators themselves do much of the work in getting those odd waveforms. The sawtooth's ramp portion is not linear and it has some overshoot at the peak, since all other waveforms are derived from the sawtooth they also show its faults. Here is a quick and dirty vintage style oscillator, the saw and triangle are not bad and in the realm of reality as too what vintage synths generated, the pulse is on the rough side, but it shows the logic of how the mini did it (if memory serves), as I said, quick and dirty, you will have to tune it to perfection.
    waves.pd
    Untitled.png

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  • oid

    @lysergik Named objects IN the sub patches. Like [array this} or [value that]. Uploading your patch would help.

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  • oid

    @lysergik Do you use any named objects like [send]/[receive]. [array] or [value] in the send patch? Any of these named objects will be shared across subpatches if they share the same name, change one and you affect the other. This also includes the send and receive names for GUIs like toggles and sliders.

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  • oid

    @jaffasplaffa Two things which made the old moog ladder so good for basses which this misses are that the topology cancels even order distortion and the output stage loads filter which creates a second lowpass effect at a higher frequency and bends the waveform a bit. The distortion being primarily on the odd harmonics helped keep it from getting buzzy and gives a characteristic effect to the resonance. The filtering created by the loading of the ladder by the output stage varies with the cutoff of the main filter but at a higher frequency, this helps to tame the resonance and does filter the input signal some as well if it extends high enough. Later ladder filters have much less of this filtering effect, it is primarily a quirk of the moog mini/modular and the source of their nice warm bass sounds.

    Either way, a great sounding filter as is and a definite keeper.

    posted in patch~ read more

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