Since HYPERBLAM takes a modular/hybrid approach to synthesis, the possibilities for inventing sounds and textures are pretty limitless.
I hate the word “soundscape” but I guess that’s the agreed term for the kind of ambient sound I’m exploring here. It’s best experienced on headphones since there is a lot of space created with reverb, filters, and panning.
It’s important to note that not just <synth-blam> can be subject to modulations and effects, but each of its operators (carriers and—to some extent—modulators) independently. For example, the two <carrier-blam>s are panned independently to the left and right. This widens the overall sound considerably.
<carrier-blam gain="0.75" curve="0 0, 1 1, 0 6" release="4" type="sawtooth">
<lfo-blam prop="gain" gain="0.5" beats="0.61"></lfo-blam>
<chain-blam>
<gain-blam gain="0.5">
<lfo-blam prop="gain" gain="0.5" beats="17"></lfo-blam>
</gain-blam>
<pan-blam pan="0.3"></pan-blam>
</chain-blam>
<blam-blam prop="type" value="triangle|sawtooth|square|sine"></blam-blam>
</carrier-blam>
Just four notes (C3 E3 F#3 G3) can ever be triggered here. The complexity of the sound comes entirely from overtones, LFOs, filters, envelopes, and a huge reverb. The principle waveform for each <carrier-blam> is also randomized (sine, square, triangle, or sawtooth) with each trigger.
Apropos of nothing in particular, HYPERBLAM’s synthesis capability comes in at around 6KB. Spitfire Audio just released a hybrid synth instrument/library that's 40GB. Not to say these implementations are entirely the same but... that’s quite the size discrepancy.