Falistri Cowbell
Basic Falistri Cowbell Patch:
Modules:
Falistri x2
VCA
Oscillators (Falistri B):
Use one Falistri as the sound source. Setup both function generators as oscillators:
Set the time scale on both function generators to audio rate.
Set the play mode on both function generators to loop.
Tune the function generators a fifth apart, somewhere in the sixth octave, then detune them to taste. If the oscillators are too harmoniously tuned you won’t get the metallic hum expected from a ringing bell. They should buzz and beat against each other. The goal is to produce a dissonant noise-like hum.
I’ve used the 808 cowbell tuning, pitched up one octave because I’m using the flip-flops to create bipolar square waves:
Function 1: 1600 Hz (G6 + 35 cents)
Function 2: 1080 Hz (C#6 -45 cents)
The cowbell requires square or pulse waves, but Falistri outputs either triangles or unipolar pulse waves. The flip-flops will fix this, but they will also pitch the function generators down by an octave.
Set both flip-flops to bipolar.
Patch both function generators end-of-rise (EOR) to the flip-flop ins. You could alternatively use the function generators’ unipolar, bipolar, or attenuated outputs. The flip-flop will convert all of them into pulse waves.
Optional:
You can patch a smooth random into either or both of the fall CVs to simulate how a bell’s harmonics and overtones evolve as they decay. In real bells, different partials decay at different rates, and the beating between the changing inharmonic overtones creates a constantly shifting texture.
Ring Modulation:
Ring modulating both oscillators will create a more complex, harmonically-rich sound.
Patch both flip-flop outs to the 4-quadrant multiplier/ring-mod inputs.
Turn the 4-quadrant multiplier level knob fully clockwise.
Then patch the 4-quadrant out to the VCA in.
Envelope (Falistri A):
The second Falistri will be used to create a 2-stage percussion envelope. One function will be used to recreate the crack of a stick hitting the bell, while a second function recreates the bell’s ringing. The combined functions will create an envelope with a ‘TCH-tsss’ sound: a sharp bright snap, followed by a softer decay.
Set both time scales to slow.
Set both play modes to transient.
Top Yellow Function Generator (The Snap):
The top yellow function generator will be used to create the initial strike of the cowbell.
Set the rise shape knob to linear (noon).
Set the fall shape knob to exponential (fully counterclockwise).
Create zero attack time by setting the rise time knob fully counterclockwise.
Adjust the fall time knob to create a punchy tick. It should be just long enough to sound like a snap.
Set the yellow attenuated out fully clockwise to +100%.
Lower Green Function Generator (Ringing Body):
The lower green function generator will be used to recreate the decaying ringing of the bell.
Set the rise shape knob to linear (noon).
Set the fall shape knob to exponential (fully counterclockwise).
Create zero attack time by setting the rise time knob fully counterclockwise.
Set the fall time to around half a second. Shorter times will create a drier sound, while longer times will become more cymbal-like.
Set the green attenuated output to around 1:00; it should be quieter than the transient envelope and have an almost reverb-like effect.
Output:
Patch the max output to the VCA CV in. The max output combines both attenuated functions; the envelope will follow the shorter yellow function until its level falls bellow the more sustained green function.
Set the Q (quadrature) switch off (to the left).
Patch the VCA out to your audio out.
The result is pretty good, but it’s quite bright, harsh and synthetic. While that’s not necessarily undesirable, we can do better.
Falistri Cowbell With Filtering
New Modules:
Polaris (or swap Polaris for whichever filter you prefer)
Polaris
Set Polaris’ filter mode to bandpass.
Tune Polaris to a value close to the higher-pitched oscillator. This will cause the filter to emphasis that pitch, while cutting out the much of the higher harshness. I’m using the 808 oscillator values, so I’ve chosen 880 Hz (A5), which is right above G5.
Disconnect the cable going from Falistri B’s 4-quadrant multiplier to the VCA input, and patch it to Polaris’ input instead. Then patch from Polaris’ multi out to the VCA in.
Turn up the Q (resonance) knob until it starts to get squawky, then pull back.
Filter Mode Characteristics:
Try out the different filter modes: Mode A (1-pole 6 db) has a too much fizz and rattle. Mode B (2-pole 12db) and C (3-pole 18db) both have a good hum-like body, but they would benefit from a brighter transient. Mode E would be ideal if you want to simulate a small, bright cowbell.
Falistri Cowbell with Polaris & SVF-1U in Parallel
New Modules:
SVF-1U (or swap in whichever filter you prefer)
A 2nd VCA
This variation separates the transient strike from the resonant body of the sound, allowing for a bright snap followed by a more muted, metallic ringing.
Envelope
Disconnect the max output on Falistri A. Patch the unipolar output from the top yellow function generator (the snap) to the VCA CV in associated with Polaris’ output. Patch the attenuated output from the lower green function generator (ringing body) to a second VCA’s CV in.
Parallel Filtering
Mult the output from Falistri B’s 4-Quadrant multiplier to both Polaris and the SVF-1U inputs.
Patch either the SVF-1U’s bandpass or lowpass to the second VCA in (the one associated with the ringing envelope). Turn down the cutoff knob to eliminate the buzz and fizz; set Q to taste.
Try out the different filter modes on Polaris. A and E are the best. Both produce a bright, cutting strike, while the body of the sound is a more muted metallic hum.
Final Output
Sum the output of both VCAs and patch the result to your audio out.