that totally explains the behaviour. thanks
Feeding slow/continuous signals to Rings, rather than short inputs with sharp transients, seems to yield very interesting results. This use case, especially if the source’s pitch is too close to the one I patch to Rings’ V/oct input, is rather prone to distortion. This isn’t really a “I have a problem” question, because this behaviour seems normal as similar frequencies would tend to overlap a bit more over the resonance in that scenario. I’m just wondering if people have found some interesting sweet spots or tips and tricks to get the best of both worlds? Aka, playing with overlapping frequencies + resonance, while maintaining manageable outputs and minize saturation? Even if I attenuate a LOT, I feel there is always bursts of overlapping frequencies where saturation goes bananas at some point.
The patch goes like this: a pitch source is duplicated and sent to both Mangrove and Rings. Rings is in Green mode, 2X polyphony. Mangrove gets an LFO on its AIR input (internal VCA). There is also a very mild and slow LFO going into Mangrove’s FM input, to add a tad bit of dissonance and reduce the constant overlapping of frequencies. DAMPING is set to about 9/10 o’clock.
This is expected - modal synthesis is, under the hood, super-resonant BP filters operating in parallel.
You could try slightly detuning the input material (so the harmonics of the input signal are not perfectly fitting in the bumps of the spectrum created by the filter bank), or keep the DAMPING (which affects the resonance of those filters) setting low.
Actually yeah, having the frequency of the source material modulated with an LFO is great for this: the frequencies would only overlap for brief moments, when the source’s pitch “crosses” the one sent to Rings, resulting in unexpected but very cool resonance effects.