Sound Samples

The HG-30 follows the modular synthesizer tradition: rather than generating a fixed set of sounds, it offers a sound design laboratory that allows users to control all the characteristics of signals. The laboratory tools include spectral shaping using either filtering or additive harmonic generation, noise generation and shaping tools, modulation methods, and access to most of the tools through external time domain envelope control. Because the result is always real time audio, in practise the tools had to be grouped to efficient sets called modes, each of which execute in less than 22 microseconds of sample time. Due to this tool based approach, the sound samples can only cover a very limited part of the capability of each mode. Furthermore, for demonstration purposes, selected technical features are often exaggerated, therefore not necessarily making the nicest sound quality possible. Most modes are monophonic, with the exeption of modes 3 and 5, and two vocoder modes, therefore the other samples that sound polyphonic, have been recorded multitrack. However, each mode sample has only used the same mode for all tracks.Only one sample has used additional sound modifying means (Fractal Audio Axe-FX II XL+).

Mode 14

Mode 14 uses FM synthesis with some novel modifications: instead of modulating the composite signal, all the harmonics can individually be modulated, therefore the resulting nonharmonic signal can be shaped to resemble different percussive sounds, in the first and second sample a bell-like sound with different envelope steepnesses.

Samples 3 and 4 (found behind the link below) additionally demonstrate how the interference between neighboring spectral components resulting from FM makes interesting low frequency rumble.

The spectrum of the modulating signal can be adjusted for more complex modulation results, in the extreme cases with very noisy sound quality like in samples 5 and 6. One slider is used for controlling the antialiasing filter for even more spectrally rich variations.

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Mode 0

Demonstrates dynamic phase modulation with the base spectrum adjusted to resemble horn (lower pitch) or violin (high pitch).

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Mode 2

Demonstrates a realistic sounding pan flute-style melody to the song “El Condor Pasa” – perhaps adjusted noise a little higher than in a real flute. Also added percussive layers in lower register.

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Mode 4

Demonstrates the pseudo-VCF with maximum noise modulation. Because the noise spectrum can be controlled based on its corresponding modulated harmonic, the spectral envelope can dynamically be shaped very complex.

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Mode 13

Demonstrates the pseudo-VCF with very rapidly varying pseudofilter passband frequency control changes.

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Mode 5

Mode 5 has maximum of 19 harmonics that each can further be split to 10 close frequencies, making a chorus-type signal. This sample demonstrates sounds with the basis spectrum adjusted so that the harmonic amplitudes are close to the ones in the classical Hammond organ, and the chorus members adjusted so that the resulting spread for each harmonic is relatively large. The chorus member interference makes characteristic tremolo effects.

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Mode 11

Demonstrates sounds with moderate noise added, noise strength amplified using the envelope generator attack period. Both adjust 1 and 2 moderate (i.e. noise amplitude and noise injection period).

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Mode 12

This is a simple arpeggio-type sample, where the 8 possible delayed versions of the internal envelope are fed to control the amplitudes of successive harmonics, running from low to high.

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Vocoder Modes

A basic vocoder sample: simultaneous real-time two-channel synthesis, where the notes come as midi messages, therefore the singer does not need to care what pitch he uses. The second voice is at a fixed interval upwards from the base note. No voiced/unvoiced control used, therefore “s” fricatives have a snaring quality.

More Vocoder Samples