I’m really interested in any input I can get regarding how to make use of wavetables (in the Shruthi) in interesting ways. Compared to all the information about subtractive synthesis, the info on wavetables I can find on the Internet is rather scarce.
Ok, so I get that you can use LFOs and envelopes to sweep through the wavetables to obtain interesting timbres, but are there any more detalied principles (as for instance there are principles when making basses, strings, pads, etc, etc through subtractive synthesis)? Any standard techniques? What are your thoughts on this? Can you guide me to any interesting discussions on this subject which can be found online? And so on…
Look around for tutorials on the Waldorf Microwave, they fit best with what the Shruthi-1 can do.
This is a good one, but only in German:
Due to the analog filter, the wavetables “just” determine how your oscillator timbre changes.
Use an envelope to get a “one-shot” timbre change for short sounds like bass, sequencer leads, stabs etc.
Use LFO on the wavetable to get continuously evolving timbre, best suited for strings and pads.
Other than that: there’s no rules, so just experiment and use your ears.
Try mapping ‘prm’ to velocity, aftertouch or key position for interesting per-note variations.
It’s often tempting to apply too much wavetable sweep, meaning that you sweep too far across the wavetable and too quickly. This is usually okay to do in the attack phase, but in the sustain/release phase, it can soon start to sound like a gimmick. To avoid this, try to do just a subtle and slow wavetable parameter modulation, in order to get slowly evolving timbres. This works great no matter what kind of patch you’re working on.
Also, some very interesting results can be achieved by using the ‘xor’ operator on the mixer page, and then modulating just one of the oscillators ‘prm’ to a different waveform variant. But it’s not really an answer to your question for “principles when making basses, strings, pads, etc”. Well, maybe pads. But not really on sounds that imitate natural instruments.
Thanks everyone! I’ll dig deeper into this now. I can definitely relate to the point that it is easy to overdo the sweeps (I have done so especially with the vowel wavetable), but I have had a hard time to get more subtle timbres which are working musically.
Yes, the Waldorf synths mentioned above (and also Braids) are better at soft and smooth wavetable sweeps than what can be achieved by a Shruthi/Ambika. But don’t see that as a technical drawback - instead think of it as an opportunity to bring more Shruthi-character into your sound.
If you can’t beat them - join them!