Just got a Shruthi-1 SMR4 mkII Special . I was hoping to use it for a live Space Rock type project but now I’m not so sure the filter can do this. Is it possible, anyone familiar with this type of sound? They used basic noise generators back in the day and then an EMS VCS3.
I don’t really know the music you mention but i think the shruthi could do '70s spacerock sounds with the right external effect… tape echo, phaser or flanger and spring reverb…
just checked that track… isn’t it all guitars what i’m hearing?
The wibbly wobbly sound that turns into the classic whooshing space rock sound at the start is the VCS3.
So to get it spot on you’d have to get Dave Brock’s VCS3, a big amp to shove it through and the same desk and so on. Which I’d imagine will be impossible, unless you are Dave Brock.
Try routing a sine wave LFO to the VCO and filter, mess around with the speed of the LFO, then slowly remove the LFO from the VCO and leave it just routed to the filter, or also remove from the filter and sweep it manually.
I don’t have a Shruthi, but pretty much any oscillator that can have a vco routed to it and a half decent filter should be able to get reasonably close.
This track? The synth is fairly basic but obvious
Yep, this is a pretty easy sound to make. It is composed of two major parts:
1: A self resonating filter that has an LFO attached to the cutoff.
2: A filtered noise source that has a slower LFO attached to the cutoff.
This is very easy to do on the Shruthi.
Open the filter all the way with no resonance to start. Set Osc1 to “noise”. This noise source on the Shruthi has a 6DB/Oct digital filter that can be swept using the “PWM” value on the oscillator page.
Once you have that set up, set up the LFO1 as a slow triangle wave. Then add LFO1 one modulating PWM1 in the mod matrix. This value should be subtle - around 15 to 30 or -15 to -30.
Next, you will need to set the filter to self oscillate. Turn up the resonance to 63 and turn the cutoff until you like the pitch of the oscillation. The noise source should be less prevalent than it was. Once that is done, route LFO2 to cutoff in the mod matrix. This LFO should be set faster than LFO1. Now you should have the basic starting sound that was in the beginning of that song you shared.
The last steps involve routing the two envelopes to the resonance amount on the filter, and the speed of LFO2. Set Env1 Decay to a rather long time - above 100. Set it to modulate LFO1 and Res in the mod matrix. You will want to decrease the resonance by only one or two steps so set it to a very low value. Conversely, you almost want the LFO to stop, so set that routing to a high value.
Finally, fade in the noise source. You will have to have Osc2 set to none. Then you can fade in the noise source by assigning Env2 to Mix in the mod matrix. You will want to use the decay portion of the envelope and not the attack if the routing is positive. The attack if you make the routing negative.
While this is completely automated via the Envelopes and LFOs, it is entirely possible to control this via an external set of knobs. Or, if you are using the firmware version .97, the performance page.
The patch in the video was probably controlled by hand.
Ah now i know what sound we are talking about… i guess you can see my advice more about general spacerock sounds…
Look into spring reverb effects units. The VCS3 has one built in, and is a significant part of why they sound the way they do.
Hawkwind was never really my bag, but from what I have heard of them, they certainly made good use of that reverb. Indeed you’ll hear it most tracks that use a VCS3/Synthi.