(Modulate This) Darwin Grosse Podcasts Synth: Absynth

Listen to Brian Clevinger (Inventor of Absynth) Interview on Art + Music + Technology Podcast


I've been using Absynth since version 1. It IS my desert island synth. This being the case I was super excited that Darwin Grosse interviewed Absynth's creator Brian Clevinger for this week's podcast Art + Music + Technology Podcast!

Listen to episode #131 here – or on iTunes (where you can subscribe to the podcast).

Absynth is one of my favorite software synthesizers. It is everything you'd want in a modular system, but is packages like a standard instrument – helping smooth the way for quick-and-efficient patch development. But the level of modulation and pure sound design goodness is unparalleled – and this thing is 15 years old!

It's a sign of great work when something lasts, and 15 years is forever in software terms. What makes Absynth so great? A combination of excellent design, fantastic sound and the fortitude to keep improving it the whole time.

Several people have pointed to Brian as a potential interview; I finally reached out to him and found him more than willing. Then we started talking, and it turned out to be one of the great chats that I've had. Brian is a cool guy, and was willing to be introspective about his work and perspectives. I felt like I made a new friend during our discussion – and you get to hear it happen.

Check out Brian's sound work at his Soundcloud page. And if you aren't using Absynth, you need to check it out at its Native Instruments product page. Enjoy!

(Modulate This) Musique concrète Synth: Absynth

Absynth Sound Design Experiment – Non-Linear Radioactive Soda Can

Radioactive soda can

I recently did a post where I manipulated the sample of the sound of a pen striking a half-full can of soda with Ableton Push and pad pressure. In this post I used the same sample, but this time with Absynth. You can listen to the experiment on Soundcloud here or in the embedded player below.

The recoridng starts with the original sample just to illistrate the starting point. I built an Absynth preset with granular synthesis to manipulate the play head plus grain size. I use the Aetherizer effect to further manipulate the signal with a comb filter with feedback. I achieve non-linearity by setting the sample start envelope to "Loop" which causes the sound to keep re triggering and playing through the grains and filing up the Aetherizer's buffer. When played at certain pitches, this non-linearity feedback results in a Geiger counter-like sound. All that from a coke can strike :^) A play the preset with various notes to show how different the harmonic content is as it feedback at different frequencies.

I've become quite handy with Absynth, so if there is some aspect of Absynth you'd like me to do a post on, leave a comment.


Mark Mosher 
Electronic Musician, Boulder, CO (meetup)

(Modulate This) Synth: Absynth

Patch & Performance Deconstruction of “Endless Chime Improv (Absynth)”


Last night I was doing some late night patching with Absynth and I came up with an original patch called “endless chime grains”. I then did an improv using only this patch and built-in Absynth FX and posted it to soundcloud here “Endless Chime Improv (Absynth)". The spectrum view overlaid on Absynth is from Image Line’s Wave Candy. I  deconstruct the patch and performance below to show you how even a simple patch/preset in Absynth can be used to create a piece that covers a lot of sonic ground.

Signal Flow


I use three oscillators with a master filter and the Pipe effect.

OSC Roles

imageOSC A is in Granular mode using a huge sample that has a breathy quality when you slow down the movement of the playhead. I’ve transpose it up a bit and moved sample start to remove the attack. On the Mod page, you can see that I’ve slowed down the Time% (controls playback speed) turned up density, grain size, and added some randomization of frequency and time thereby smearing the sound.

imageOSC B is a basic sine wave with the OSC set to Double mode making OSC B have two oscillators who’s outputs are mixed together. This double mode offers a Uni (Unison) page where I bump up from 1 voice to 8 voices. I turn Trans up to 9 which controls the amount of detuning between the two voices. I turn up Rand which adds random detuning upwards and downwards in half-tones creating ring modulation. Note there are other ways to add ring modulation to a signal path not used in this patch such as the “Ring Mod” module, and you can even add ring modulation in the feedback of certain filter types.

OSC B is a pure sine wave.

Channel Volumes

Each vertical lane is a channel. Here I set the relative volumes of the channels for the default patch without performance tweaks.


Master Channel

In the Master Channel I’m using a –12db Low Pass Filter with the Pipe Effect.



Even though Absynth supports 64 breakpoints in its envelopes, I only use a few here. Note that I stretch out release times a bit on the Amps. I used the “+New” button to add an envelope for “Effect Master Time” which slows time down for the Pipe Effect after note release which helps to glitch things out in a subtle way.


Pipe Effect

The only effects used in this piece are from the Pipe Effect.


It’s such a cool effect and rather than try and explain, I’ll paste in P. 88 from the manual.

The effect type Pipe replicates the physical qualities of resonating bodies and resembles a simple waveguide application. Unlike waveguides based on physical modelling, ABSYNTH’s pipe algorithm does not attempt to realistically simulate existing instruments or other natural resonating bodies. It is helpful to imagine Pipe as a kind of string or pipe.

Let’s take the image of a string. A loudspeaker (a contact loudspeaker) is connected to a string, which begins to vibrate as a result. You can determine the position of this virtual loudspeaker on the string via the parameter Input Position. Above the string are two pickups, similar to an E-Guitar. The pickups’ positions can be determined through the parameter Output Positions. Changing those two parameters can be compared with changing two microphones. You can modulate the string’s length and the pickups’ position through the LFOs or a MIDI Controller. This way, various flanging, pitch-shifting and rotary speaker effects can be achieved. These effects are particularly apparent when the modulation of the pickups are modulated in opposite directions.

Consider the following: When one of the Output Positions crosses the Input Position (when loudspeaker and pickup would directly be facing each other) a muffled side tone can be heard. By modulating the parameter called Length, which relates to the string’s length, the crossing values for Length and Input can produce a muffled click. However, it is not a problem to cross the Output Positions. The graphic representation of the effect Pipe shows the current settings of the parameters for Input Position, Output Position and Length, as well as for the adjacent modulations. It should help you to prevent undesired crossovers with the Input Position.

An easy way to get going with the Pipe Effect is to load an Effect Template then experiment with settings.


I loaded the “Echo Reverb” template which uses pipe. Note that there opportunities to load templates in many areas within Absynth – so click that “Edit” button where you see it and you’ll learn a lot about how Absynth Works :^).

I turn feedback way up, and “Lowpass Hz” way down. This makes the extremely long delay and reverb tale less bright and nearly endless.

Performance Parameters


I map Master Filter Frequency to performance parameter 1. A super fast way to do this is to right-click on the parameter you want to map to the performance controller then click on the performance param slot in the list to make the assignment.


I repeat this mapping Master Filter Res to Performance Parameter 2. 3 & 4 are not used in this patch. Perform Param #4 modulates OSC A Main Pitch so I can tune the breathy sound in real-time. You’ll see that I mapped the OSC volumes to params 9-11 so I can fade and balance the timbre in real-time.

imageNote that this convention of using OSC A for atonal elements and OSC B & C for tonal elements and dedicating performance params to OSC A pitch and OSC volume is something I just learned by studying the late Tim Conrardy’s sound design work on the absolutely wonderful Starscape Absynth Sound Library.I highly encourage you to get this sound set. It’s like a master class on its own.

If you want to learn more about Tim’s work please visit his memorial page at which was created by my friend Tim Thompson (creator of Space Palette) .

I wanted to make special note of another way to add assignments in Absynth. If you click the “Assignment” tab in the “Performance” page , you can click “Add” then select from the list of params available from the patch elements that are active in the preset. I used this method to add  “Effect Time”. You can also go back and revise depth and lag settings for any parameter mapped on this page as well as invert the control signal. I turn “Lag” up so that changes to the performance parameter will scale and be less jarring. If you leave lag alone with this template, you’ll get more of a tape delay effect.


Lastly, I mapped Effect Feedback and Effect Balance Wet/Dry to performance slots 7 & 8.


I recorded the improv in one take inside of Ableton Live. I played notes and modified params in real-time. One REALLY great thing about Absynth within Live is that all the performance parameters plus Master Envelope ADSR are automatically exposed without having to go through the device configure process. This is a HUGE time saver. This being the case you can quickly MIDI map to your controller or rack up and create macros.


I then rendered the piece and automatically uploaded it to Soundcloud using Live 9’s embedded soundcloud feature..



Wrap Up

I wanted to show you a simple use of Absynth to inspire you to dig deeper. Once you get the hang of Absynth and take advantage of templates within modules you’ll find Absynth is fast and the workflow becomes second nature. To put it into perspective, it took me an hour and a half to write this post and less than 10 minutes to go from idea to performance enabled preset. Thanks to Ableton’s Soundcloud export I was able to record the piece and get it on Soundcloud in less than 10 minutes. ‘

Happy Patching,

Mark Mosher
Electronic Musician, Boulder, CO (meetup)

Ableton Live Live 9 Synth: Absynth

How to Send a MIDI Program Change to Absynth in Ableton Live

(Click Image to Enlarge)

Absynth’s “Program List” is a great way to organize your favorite presets for studio or performance work. You can also use it as a list of MIDI program changes. In this article I illustrate how this works with step-by-step instructions on how to to use MIDI program change in Ableton Live to change presets in Native Instruments Absynth.

  1. Click the Browser tab Absynth has a featured called “Program Lists”. To access this feature, click on the “Browser” tab.
  2. Click “Programs” if it’s not lit in green. This exposes the Program List. If the “On” button is lit, Absynth listens for MIDI program changes.
  3. Drag sounds you would like in your preset change list to the “Program List”
  4. Create some dummy clips (a clip with no notes) by double clicking in a clip slot for the device holding Absynth.
  5. In the “Notes” section of the device interface, use the bottom field to set the program number. In the example, the clip in focus is set to a value of “Pgm 3” which will select the third preset in the list. You can set a different progam number for each clip.

Of course this technique will work with any VST or hardware synth that can receive a MIDI patch change.

One use case for a live situation is to use a grid controller like a Launchpad or APC 40 to launch the dummy clips to quickly change patches. You could load up 8 of your favorite synths (or 8 instances of absynth), then use scene launches to tee up the patches per scene. For example, if you use used one scene per song in a live situation, you could launch the scene, then select each track (or set of tracks to arm and layer the synths as the song progressed. When you are ready for song 2, launch scene 2 and all the patches will be teed up. 

The advantage that instead of having to load a new set per song, or have a lot of instances of a synth, you simply use the same synths instances for each song and change the presets in play for each song.

Mark Mosher (meetup)

Related articles

How to Trigger Absynth 5 FX Envelopes with MIDI Notes in Ableton Live
Listen to "Falling" Sound Design Experiment with Live 9 + Max for Live Convolution Reverb Pro Using IR Made with Pitch-to-MIDI Absynth Patch
NO GHOSTS. JUST FEAR. – 5 Original Dark Ambient Synthetic Soundscapes
Absynth Tutorial: Modulating Filter Frequency with Keyboard Scaling
(Modulate This) Synth: Absynth

NI Absynth Tip: How to Set Channel Volume, Overall Preset Volume and Enable Automatic Channel Level Adjustment

There are many ways to control the volume of your presets in Absynth and many options are not on the same page. This being the case, I offer you a few tips with screen shots to help you wrap your head around overall volume adjustment technique in Absynth.

Controlling Channel Volume

First off, you can control the volume of each of the channels in the preset using the volume sliders ate the bottom of each channel while designing your sound.


Set Overall Preset Volume

When you have finished your sound, go to the “Perform” page. Then adjust “dB” value to set the overall volume of the preset relative to other presets in your library.


This setting is also handy a handy way to change the volume of presets in factory or third party library that are too loud or too soft for your taste.

 Automatic Channel Level Adjustment

You can also have Absynth automatically ajust the levels so that the sum of the tree audio signals of channels never exceeds 0 db.


To set this go to “File”>”Options”>”Genera” then select “Auto balance patch channels.


I only use this last method when I’m designing sounds that might have crazy volume or pitch transients to protect my ears and speakers. Once I’m satisfied with the overall patch, I turn this off and manually tune the volume per the “Controlling Channel Volume” section above to achieve more dynamic sounds.

Mark Mosher


Related articles

Sound Design Tip: Precise Sync to Picture and Long Envelopes with Absynth Break Point Time Control
Absynth Tutorial: Modulating Filter Frequency with Keyboard Scaling
How to Trigger Absynth 5 FX Envelopes with MIDI Notes in Ableton Live
FX Pieces by Absynth Creator Brian Clevinger Show Processing Side of Absynth
My 100th Patch with Absynth LFO Rotors
(Modulate This) Brian Clevinger Synth: Absynth

FX Pieces by Absynth Creator Brian Clevinger Show Processing Side of Absynth

Brian Clevinger’s avatar

Back in 2012 I wrote a post called Sound Design and Workflow Tip: Make Better Use of the Stand-Alone FX Versions of Your Virtual Instruments which suggested you explore using some of the FX versions of the synths in your quiver for applying interesting FX to your tracks.  Since then I’ve been exploring Absynth FX quite heavily and some of this work made on to tracks on my recent album such as “Coevolution” and “Gonna Rise Up”.

To show you more examples of how you can use Absynth FX and Absynth in general,  I recommend you follow Absynth creator Brian Clevinger’s Soundclod page. He has a lot of cool pieces out there including this one called “Liquified Bass” which is “An ambient improv, playing my bass through an Absynth patch.”

Here is another piece called “Rossignol” which is “Nightingale sounds slowed down 3 octaves and harmonised a little with Absynth's Aetherizer effect. A very simple Absynth patch.”

Visit to explore more of his work. For more Modulate This! posts on Brian check out For more posts on Absynth visit

mark-mosher-fear-cannot-save-us-cover-final (550x550)Mark Mosher
Electronic Musician Boulder, CO
www.FearCannotSaveUs <<< New Cinematic Electronica Album



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My 100th Patch with Absynth LFO Rotors
Absynth 5 Synthesizer Envelope Editing Tips
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(Modulate This) Synth: Absynth

NI Absynth Tutorial “Master The Sample Jump Mode” by @absynth_tuts


I used the heck out of Absynth in my new album. There are some hidden gems in it’s deep feature set. Here is one of may inspiring videos by on a feature you might have missed  – sample jump mode.

Did you know about the sample jump function? It is a great way to slice samples in Absynth!

Sample Jump is a type of envelope you choose in Absynth after you have loaded a sample in the oscillator module.

It allows you to select different parts of the sample in each segment of the envelope, this way you can create a sample that jump from one section to the other, really interesting for all kinds of loops.

In this example I loaded a Kanye West vocal loop to slice up all the words and phrases, depending on how much time I want to spend with this I can completely change the order of every word and syllable.

They key here is randomness, because doing random stuff inside synthesizers always gives the best results, especially when you know a little bit about what you are doing.
For this lesson I tried to keep everything fairly simple, but you can completely go crazy and use 3 oscillators with 3 different loops and alter between different parts of the samples.

After that you can use filters with new envelopes to create more rhythm or simple use the filters as a mixing tool.

The sky is the limit here, you can even load a whole song in the sample oscillator!
A good thing to do beforehand is checking the BPM of the loop, this can save you a lot of time later on.

If it's not the same tempo as your project you can either change the tempo of the loopby time stretching it, or you can change your project tempo.

Your in for a treat, have fun with this!

– Jorgalad



Mark Mosher
Boulder, CO

<<< Checkout my new album Fear Cannot Save Us
#cinematic #scifi #electronica

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(Modulate This) Native Instruments Sales Synth: Absynth

Native Instruments is Offering 8 Synths for Half Price Including Absynth 5


Native Instruments is offering 8 synths half-off till March 17th including my desert island synth Absynth 5!

Turn your studio into a sonic playground with eight top-selling synths. Get huge basses and leads with MASSIVE and MONARK. Step into the future with RAZOR and FM8. REAKTOR SPARK and REAKTOR PRISM deliver ultimate expression. And SKANNER XT and ABSYNTH take you to the outer limits of sound. Fill your studio with synthsational sounds – half price until March 17.

Here is a link to the promo


imageMark Mosher
Electronic Musician & Performer, Boulder, CO
Artist Site:


(Modulate This) Synth: Absynth

NI Absynth patch “Halloween Theme” by John Carpenter Using Only Envelopes

Here is a fun video (  from Absynth guru Anthony Distefano.

My Absynth version of the "Halloween theme".This was all done using the envelopes.There was no overdubbing.


Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

(Modulate This) Steve Reich Synth: Absynth

Anthony Distefano Celebrates Steve Reich’s Birthday with NI Absynth Video “Pulses from Music for 18 Musicians”

My friend and Absynth guru Anthony Distefano shared a video in celebration of Steve Reich’s birthday.

My Absynth version of Steve Reich's Pulses from Music for 18 Musicians.This was all done using Absynth's envelopes.


Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

(Modulate This) Octatrack Synth: Absynth

“I Calculate” – A Soundscape Experiment Using Octatrack to Sequence Absynth 5 Synthesizer


In this experiment I used Octatrack to drive Absynth running in stand-alone mode. I sequenced the piece using only the Octatrack sequencer. I used step sequencing mixed with trig automation to modulate Absynth performance params via MIDI CCs along with some real-time performance param manipulation using data entry knobs on Octatrack. I used the MIDI OUT on the Octatrack and the MIDI on my USB soundcard. 

Note you can also play your MIDI instrument using trig mode “Chromatic” and you can assign MIDI CCs to  to the data entry knobs thereby making Octatrack a controller.

This was my first time using Octatrack with an external MIDI instrument and when I was setting this up I couldn’t’ quite figure out how to turn the “on” the data entry knobs once I configured them to a MIDI CC. This video will save you a lot of time in learning how to set up Octatrack for MIDI sequencing including activating data entry knobs.

See more Octatrack videos by SecretMusicUK on his YouTube channel

Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

(Modulate This) Synth: Absynth

Sound Design Tip: Precise Sync to Picture and Long Envelopes with Absynth Break Point Time Control


In addition to dragging the breakpoints of an envelope in Absynth, you can also enter precise time values for each break point. P. 116 of the manual explains the different types of time control.

Abs/BP Time control: Determines the Breakpoint’s position on the time axis. Enter the duration in seconds. Depending on the setting of the BP Time Toggle on its left, you can either enter the duration since the previous Breakpoint (Bp sec) or since the beginning of the Envelope (Abs sec).

Being able to type in your envelope times allows you to not only be precise, but also allows you to create extremely long envelopes much faster than dragging the break point with your mouse. This makes Absynth ideal for sync to picture work where you want to bake automation right into a patch.


Boulder Creek Ascent (Timelapse with Absynth Synthesizer Soundscape) from Mark Mosher on Vimeo.

I just used this technique in a short video I just put together called “Boulder Creek Ascent“. The video is of mountain bike ride up Boulder Creek Trail. It’s shot with GoPro and the first 30 seconds is a timelapse with a shutter speed of 5 seconds compressing a 40 minute ride to the creek down to 13 seconds. The second part of video at the creek is running in normal video mode.

The soundscape for first 13 seconds was produced entirely with the Absynth using only camera audio from the creek video footage in the latter half of the video. The screen shot above shows a view of some of the envelopes used.

For Oscillator A, I used granular synthesis to compress the 1:00 long ambient audio recording down to only 13 seconds. I also use a 13 second envelope segment to sweep the pitch of the sound up for the entire ascent.

For Oscillator B, I use the same sample in Sample mode so you hear some of the original water character. Oscillator C is a copy of B to thicken things up a bit.I also use an envelope to sweep the filter and added some LFO modulation to one of the envelope segments.

I use only the built-in Absynth Echoes effect with three echo lines with surround panning automation running. I also use LFO1 to modulate master panning.

Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

(Modulate This) Octatrack Synth: Absynth

Octatrack Meets Absynth Ambient Improvisation


I recorded this piece during my summer hiatus – “#01 Octatrack meets Absynth” (watch embedded video).


2013 Summer of Synth Sessions Boulder – #01 Octatrack meets Absynth from Mark Mosher on Vimeo.

Real-Time With Octatrack

I’m just getting started with the Elektron Octatrack performance sampler but I decided it would a perfect instrument to kick off a summer sessions as it’s possible to do entire compositions with effects from this one box. I’m finding that playing it from the front panel even without the sequencer can be incredibly expressive even though it doesn’t have velocity sensitive buttons. The secret sauce is in the morphing scenes. You can create up to 16 scenes each with it’s own parameter settings. You then assign one of these to either Scene A or B on-the-fly. You can then morph between the settings of each scene with the incredibly sensitive optical crossfader which causes the Octatrack to smoothly interpolate between A & B parameter settings. In a nutshell, you are able to control and perform with incredible amount of number shaping parameters in realtime.

#01 Octatrack meets Absynth

I’ve seen a lot of beat-driven videos so I thought it would be fun to do an ambient piece. This piece is an original improvisation recorded in real-time in one pass playing Octatrack buttons in Chromatic mode. No sequencing is used. There are 3 tracks of audio samples being played. The source samples were rendered from Absynth and include

a factory patch called Choiromechanoidz

A custom Absynth granular synth patch based on a custom Aalto patch I sampled

A custom absynth patch called Broken FM – pure FM synthesis. The piece makes heavy use of morphong with the crossfader, scene switching on the fly, FX morphing on on tracks and via chained effects (Neighbor Machine).

Sun Position and Aspen Trees

I didn’t intend this, but I happened to line the Octatrack up with the shadow of the roof. The piece is long enough and the shadow is close enough to the edge of the instrument that you can easily observe the earth’s rotation via the shadow movement. I finish right as the sunlight is about to hit the Octatrack. You can also see a reflection of the Aspen trees above me in the Octatrack’s display.

Note – the Octratrack display and LEDs are easily visible outside as long as you are not in direct sunlight.

Mark Mosher
Electronic Musician | Composer | Sound Designer | Performer
Boulder, CO

(Modulate This) Synth: Absynth

My 100th Patch with Absynth – LFO Rotors

my song absynth

I went on a bit of a synth “walk about” in the last year and mainly went deep with one synthesizer for programming from INIT – the mighty Absynth. Yesterday maked the 100th patch I’ve made with it.

This a sound design experiment using three samples as oscillator sources. Sample 1 is a recording I made of my daughter 10 years ago (I left the beeps in from the low budget digital recorder I used at the time). Sample 2 is crowd noise from a CU Basketball game. Sample 3 was made by resynthesizing a bell through an additive synth called Morphine which I then loaded into Absynth in granular mode.

I then turn down the volume on all oscillators and use LFO’s with square waves running in mono-mode and in series to modulate the OSC volumes. So the LFOs act as a gate shaped by the LFO waveform turning on the audio round-robin as the samples play out. I then modulate the LFO speed with a performance slider all the way up to audio rates as the piece progresses.
This is ALL absynth including effects (resonator with surround motion).

So thanks to Brian Clevinger for making Absynth (which will continue to be a main focus). Also thanks to John Bowen for showing me his Solaris Synth rotors a few weeks back when I was in Seattle for Pacific Northwest Synthfest which inspired the sound design concept behind this piece. You both have made amazing instruments!

Mark Mosher
Synthesist, Composer, Performer

(Modulate This) Sound Design Synth: Absynth

Pure and Broken Circuits 01 – Absynth Sound Design Experiment


"Pure and Broken Circuits 01" is an Absynth sound design experiement. A sound design experiment showing the darker virtual analog modelling side of Absynth (no samples here) to illustrate Absynth's range beyond the typical motion pad :^) This piece is an improvisation using an original preset patched with two oscillator in single mode and two Filters with feedback. I'm using waveshaping feedback mode and modulating filters and resonance with envelopes which creates the sonic movement as the envelopes play out.

(Modulate This) Synth: Absynth Tutorial

Absynth Tutorial: Modulating Filter Frequency with Keyboard Scaling

Happy New Year! My resolution last year was to go deeper with fewer synths. It’s one of the few resolutions I managed to keep – lol.

Absynth is one of the synths I focused on in 2012. While it was my first virtual instrument (started using it back in 2002 when I started migrating to computer-based music), some elements remained a mystery to me. After a year spent writing presets to use features I’d not touched, reading and re-reading the manual, watching tutorials,  and forcing myself to use it it for for single-patch projects (Tracks 3 & 4 on my last album, and for this soundscape) Absynth has now become my go to “axe” for programming from INIT. Even after all these years it’s simply an amazing synth.

With all that said, I thought I should kickoff 2013 by sharing an Absynth tutorial to help you discover some of the interesting features of Absynth.

Goal: Change the brightness of a sound so the sound gets less bright as you play higher on the keyboard.

Step 1: Add a master low pass filter to a patch.


Step 2: Select Performance>Note>Param and select “Filter Freq Master”.


Step 3: Use your mouse to draw a curve. You'll notice you can use your mouse to get feedback and key and scaling value. Now if you play a a note you'll hear the sound gets less bright towards the higher end of the keyboard.


Tip: If you want to be even more accurate, you can do per note scaling. Click the keyboard button, then play a note on your MIDI controller (or use the keyboard at the bottom of Absynth. While you can now set the precise modulation value for that note.


Note, the following parameter groups can be modulated by keyboard note values.


Happy modulating,

Mark Mosher