One of the most potentially fun features on One is its TRANSFORM parameter, available in each and every MOD.
It can perform a math function (and other things) on the final output value of a MOD.
For example, here are some current TRANSFORMs:
LIMIT LOW
Setting a Limit Low value will prevent the output of that MOD from ever going lower than that Limit Low value.
It lets you make the output values a straight line with an elbow bend upward starting at the Limit Low value and above.
LIMIT HIGH
Setting a Limit High value will prevent the output of that MOD from ever going higher than that Limit High value.
It allows the output values to climb upward and then levels them out at the Limit High value and above.
SQUARED
This takes the output of the MOD and multiplies it by itself to create an exponential curve.
CUBED
This takes the output of the MOD and multiplies it by itself twice to create a more exaggerated exponential curve.
I vote for lag processors. Good for transforming a square LFO waveshape into trapezoidal, which is a useful waveshape. Also good for transforming S&H into smoothed S&H. The CP251 has lag processors.
Yup, Slew Up, and Slew Down were specifically requested for making Aftertouch smooth when pressing down yet not slam shut when you lift your hand off the keys.
In addition to setting limits on the output of the modulation, it would be useful to limit/scale the modulation source. Using aftertouch as an example -
what one might want to do is to ignore all aftertouch being sent from the keyboard up to a certain value, and then have it kick in from zero to 127 beginning at that point. Not sure if I am explaining that well, but you don’t want to only hear aftertouch affecting the pitch starting at a certain non-zero amount, you want to hear the affect coming in beginning at zero, but only starting when you press a key a certain amount.
This will be particularly useful if/when MPE and PolyAT are implemented using something like a Roli Seaboard which is almost always transmitting AT.
This sounds very similar to a suggestion I made on the Sub37 page. If I understand correctly (and using 7-bit values as an example) you want to have the full modulation range (0-127) of, say, OSC1 pitch controlled by aftertouch; the aftertouch would then be only active in a limited range, say 64-127, so that (in this example) modulation would only kick in from an aftertouch value of 64 and be scaled 1:2.
This could be combined with the upper and lower limit parameters to create “dead zones” on say the mod wheel where part of its travel affects one parameter and another part of its travel affects a different parameter.
I don’t even think I know what a transform is. But I remember you Demon Dan from these forums when I got the sub 37. You were a genuine quality person. And now I’ve figured out who you are I am not surprised at all!
Hi lushr,
Think of it as a tool kit filled with little math functions. The math is applied to the final output value of that MOD.
So, as an easy example:
Source = Key Pitch
Value = 100%
Destination = Ladder Filter
Low Pass Cutoff
In this case, every key that you play higher will make the Filter Cutoff open the same amount, giving you the same tone regardless of how high or low the note is.
But, let’s say that, any notes above a certain key start to get too bright. So, you add:
ahh nice example, i see. thank you! yes i’ve seen from some of the demo patches how useful it is to create really dynamic sounds that work across several octaves.
It would indeed be great to have slewing transforms. But, these would also be great: waveshaping transforms!
Say we get “sine”, “triangle”, “square”, and possibly other some more esoteric curves as transforms. Then, doing them on a downward sawtooth LFO will enable us to have different LFO waveforms per individual mod destination! How cool would that be?
I also second the modulation mixing options like Korg’s AMS, Kurzweil’s FUN, or Modifiers on Waldorfs. Though that would need to be a new page somewhere, it shouldn’t be a Transform directly, methinks.
