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HumeNovember 19, 2008 Hume's unique sampling sequencer and morphing oscillators create complex, delicate, and rich timbres, both in sonorous pads and in complex rhythmic patterns. (Click image for bigger view)  The instrument has three main sections: sound generators, sampling sequencers, audio post processing. Sound GeneratorsWith an XY panel, you can adjust the mix of 4 oscillator sources. There is one oscillator in each corner--the center of the panel is an even mix of all four. Around the XY panel, morph controls can modulate the mix from dozens of modulation sources, and you can see the resulting waveform in the panel at all times. When the morph sliders are centered, the sound is constant. When moved to the left or right, the morph modulator acts like vector mixing. On the LEFT of the morph control are two width-modulated oscillators, with up to 4 waveforms each, and patchable modulation sources for the width and pitch. On the RIGHT are two FM oscillators with up to 5 waveforms each, and patchable FM source, AM source, and pitch mod source. For each oscillator you can make one waveform audible, and also use any oscillator waveform as an AM or FM sources. So the oscillators by themselves are capable of alot of different sounds--for example, you can use a osc1's pulse oscillator in the sound mix, and also use osc1's triangle oscillator as an FM modulation source for oscillator 3. The morphed output is mixed with a separate noise generator (with its own amplitude and color modulation); then vibrato and tremolo may be applied to the entire sound from any modulation source. Polyphonic tempo glide, glissando, tremolo, and vibrato are available. Each snap can spread the amount of pitch detuning across the voices (voice pitch spread) by a different amount. Hume MetasequencerIt took a while to work out how to describe this one. This design is different from other sequencers in a special way. This is, the sequencer itself doesn't generate triggers or gates. Instead, there are two envelopes which *sample* the sequencer and put out a note with whatever pitch and velocity the sequencer has at that point in time. There is a also separate pitch transposer that works like an arpeggiator. The envelopes, sequencer, and transposer all run independently of each other, each with a DIV control that divides down the trigger source. For example, if an envelope DIV is 2 and the sequencer DIV is 4, then the envelope plays each note from the sequencer twice. If it's the other way around--the DIV is higher for the envelope than the sequencer--then the envelope skips notes from the sequencer. By setting uneven div rations, you can create all sorts of patterns. In addition, there are two trigger sources for the sequencer, transposer, and two envelopes: a shuffle clock and beat sequencer. The shuffle clock can use a switchable internal/external clock source and adds swing to odd or even triggers. The shuffle clock directly runs the beat sequencer. The beat sequencer is a simple cyclic on/off trigger for step. It generates a gate length depending on the number of OFF steps following each ON step. The beat sequencer trigger can be divided down from the clock source, and it can have any number of steps. Either the beat sequencer or clock can trigger the pattern sequencer. The pattern sequencer has up to 8 steps, with pitch and velocity controls for each. The pattern sequencer can run at various divider ratios of the shuffle clock, or on high triggers from the beat sequencer. It can run forwards, backwards, and in two reversible modes. The sequencer pitch is fed into a transposer which can transpose the 4 notes at variable intervals, over variable ranges, in various directions. The interval is again a settable division of the shuffle clock or high triggers from the beat sequencer. The sequencer pitch passes though a pitch remapping unit, which can optionally force notes to a particular scale, and microtuning, before it's sent to the envelope samplers. When an envelope samples pitch and velocity data, it sends the resulting pitch and gate information out as MIDI data, which is routed back into the same instrument. So you can also play notes from a MIDI keyboard, for example, even when the sequence is running. Post ProcessingThe oscillators feed a parametric saturated filter, designed for low CPU usage while offering rich harmonics. More than a dozen filter modes are available. Patchable modulation sources can control frequency, Q, and saturation. The saturation and Q response curves are shaped for highly resonant timbres. The filter output is summed to a monophonic source, then feeds a mono/poly compressor and reverb chain. The reverb's mono output is moved around in a stereo field using pan modulation, which then feeds a stereo echo with tempo and modulation delay. Modulation PossibilitiesModulation sources include:
The delay lines can also act as a chorus stage which --in combination with the morphing sound source--give you scintillating, wide, fat, pads for novel sonic soundscapes. The overall result is an endlessly changing, morphing waveform source, capable of both analog-style and FM-style sound generation in an intuitive interface. After sonic and dynamics enhancement by the filter, compressor, and reverb, infinitely changing sounds are layered over themselves by the pattern sequencer and tempo delay in exciting rhythmic patterns, either pure or mean, and it's all easy to adjust dynamically. Intended for real-time tweaking and fun. Changes in Hume v3Hume v3 includes better snaps; the keyboard and midi controllers are now fit onto panel A; many poly enhancements~including polyphonic morph, poly compression, poly lfo spread, pitch spread, and poly glide; improved sequencer control and synchronization; bug fixes; and extensive work has reduced the base CPU usage by a further 20% over previous version. See the included release notes for more info. Changes in Hume v4
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