Macros 9-12 are assigned to the Aetherizer in the FX section. The Cutoff of the Highpass FIlter in the Master section is controllable with Macro 8. The volumes of Channels B+C are assigned to Macros 3+4. Channel C adds a more basic sound with a tuned Bandpass Filter for adding some body and warmth to the patch. It is processed by a Cloudfilter and a LPF 4 Pole, control the LPF Cutoff with Macro 7. Channel 2 has the Oscillator running in Fractalize mode using a resynthed Chromazone sample as it's waveform. The Modwheel adds detune to the grains of Oscillator A. The sample playhead position is envelope-controlled, speed up the envelope with Macro 1. Add LFO-modulated Filter Feedback with Macro 5, turn up the resonance of the Combfilter with Macro 6 and add pitch modulation to the Comb with Macro 2. The download folder contains two patch formats: ksd (old Absynth) and nab (new Absynth).Ĭhannel A plays a sample in Granular mode made by convoluting water sounds in Metasynth, processed by a LFO-controlled Allpass and a Supercomb. Check the LFO and envelope pages for further modulation sources and targets.

The balance of the Cloudfilter in the Master section is controllable with Macro 12, Macros 9-11 are assigned to the Resonators in the FX section. The volume of Channel B is controllable with Macro 3, Macros 1+2 control the panning positions of the temposynced panning-envelope for Channel A. Both channels have a waveshaper and a Lowpass Filter applied, the LFO-controlled waveform morphing of the Waveshaper in Channels 2 is controllable with Macro 4, the Cutoff of the LPs are assigned to Macro 7 and you can add frequency-shifted Filter Feedback with Macro 8. Macro 6 tunes the Modulators up 2 octaves, their waveforms are being morphed by a temposynced LFO. Macro 5 controls the amount of FM modulation in both channels. The Oscillators in both channels run in FM mode, their pitches controlled by a temposynced step sequence in Retrigger mode.

Absynth 5 demo