As you’ll read in the Synthesis guide, I set out to capture the wild moog sound played by James Brown on Blow Your Head.
Since then, I’ve made some modifications to enable an even nastier sound. These include a second <carrier-blam> used as a harmonizer, creating an octave overtone.
<synth-blam id="synth" gain="4" notes="C1 D#1 F1 G1 C1 C2 D#2 F2 C2 C3 D#3 F3 C3">
<carrier-blam curve="0.03 0, 1 0.2" release="0.05" type="sawtooth">
<modulator-blam class="mod" ratio="3.1" type="triangle" gain="0"></modulator-blam>
</carrier-blam>
<carrier-blam id="octave" curve="0.03 0, 1 0.2" release="0.05" type="sawtooth" offset="12" gain="0">
<modulator-blam class="mod" ratio="2.7" type="square" gain="0"></modulator-blam>
</carrier-blam>
</synth-blam>
As you can see, there are also <modulator-blam> elements in place. These modulate the frequency of their parent <carrier-blam>s. Given the non-integer ratios, and depending on the gain, this can really mess with the sound. Use the instability slider to try it out.
The drums here use the sample-based <pad-blam> instrument. Yep: there's no reason why you can’t mix sampling and synthesis within HYPERBLAM. Also, check out that lush spring reverb applied to the clap samples.
<chain-blam out="drums">
<reverb-blam mix="0.15">
<sample-blam src="{{site.basedir}}/static/sounds/IRs/yamaha-spring-hard.mp3"></sample-blam>
</reverb-blam>
</chain-blam>