Hi there! I’m new here in the Vital forums and haven’t yet gotten into Vital, but I’m a Korg modwave/modwave native user and beta tester and wavetable freak so…
tl;dr: I’ve been working on an absolutely ginormous collection of single-cycle waveforms (more than 29,000) that I’ve assembled into some really cool wavetables (more than 36,000), and you can get a sampler pack of these that includes 127 wavetables that should be easily importable to Vital (via the Serum .wav versions) here: Free Wavetables for Korg modwave, Serum, and other wavetable synths plus single-cycle waveforms
Lots more words about these:
These aren’t based on audio samples, they’re the real wavetable/single-cycle waveform deal. Pure data.
The commercial version featuring 36,000 wavetables, 29,000 source single-cycle waveforms, and more will be available soon (and just $29). This free collection includes modwave/native .mwbundle versions, Serum compatible .wav versions, and also includes Korg multisamples for an assortment of waves (use them in your wavestate!) as well as samples of the core .wav files themselves (with full-length loop points set) that can be used in a wide variety of applications.
This project started as an exploration of waveforms created using various mathematical series, especially the polygonal number series, which have a really unique bell-like timbre. (I first heard these types of waveforms via Galbanum’s Architecture Waveforms collection, where there are a few examples, but the method wan’t very deeply explored.) So, I wrote code to make zillions (well, thousands) of variations on polygonal-series-based waveforms and then, just kept going with waveforms based on other types of numeric series and bunch of other novel single-cycle waveform generation techniques (“non-binary bitmask synthesis”, anyone?)… More on this in future videos.
The page mentioned here is a work in progress, and there will be a demo video soon, but why wait to share some fun? So, go ahead and get some free wavetables you can use in Vital and other wavetable synths.
These should be easily importable into Vital. The Serum folder you’ll find in the sampler contains 32-bit .wav files where each waveform frame is 2048 samples (in case you need to know that). Each free example wavetable has no more than 64 frames (more detail on what the various types of wavetables are, below).
AND… If anyone who might want to create some cool Vital patches using these and share them with me as examples, I’d be happy to return the favor with a copy of the full collection.
Since I don’t have a long, talky video about this collection just yet, here’s a little more background about what’s in the free collection than is currently present on the download page:
ABOUT THE DIFFERENT WAVETABLE TYPES:
The other types are as follows:
“Pgon 16”: These wavetables are 16 frames composed only of the polygonal numbers waveforms and their variations. There are more than 700 of these in the full collection.
“Rand Explore”: Composed of 4 randomly selected waveforms from the Vol 1. collection. These are great for position morphing as you’ve got lots of room between the frames.
“Rand Explore 16”: Same thing, but 16 frames per wavetable. 1500+ of these in the full collection.
“Rand Explore 64”: Same thing, but 64 frames per wavetable. This makes the frames quite close together, but it’s an easy way to browse the wavetable collection is a random way and discover happy accidents.
There are also some examples of wavetables that use different crossfading/morphing techniques than time-linear crossfades:
“Mband” wavetables: The “Mband” wavetables are composed of 8 frames, created as follows:
First, two waveforms are selected at random from the collection (either “Vol. 1” or “Vol. 2” as implied in the names). These define the start and end points of the wavetable. Then, the harmonics are considered as 4 bands (think of it as low, low-mid, high-mid and high) and one of these bands was selected randomly to crossfade linearly (1:1) across the entire wavetable. The remaining bands are randomly assigned a different morph slope (between 0.5 and 1.0) and so may transition from the start to end somewhat faster than the linear band. This creates a bit of timbral variety, though the effect is subtle.
Then, based on this rule, we generate 6 evenly-spaced interstitial frames and the final wavetable contains 8 frames. In your wavetable synth with interpolation turned on, you then hear the wavetable smoothly morph between these frames.
In the commercial version, this technique was applied to the entire Vol. 1 and Vol. 2 waveform collections – with a rule that any given waveform is only used once – resulting in more than 12,000 Vol. 1 Mband wavetables and more than 1800 Vol. 2 Mband wavetables!
“RAIM” wavetables: The wavetables labeled “RAIM” are similar in that they again start with a beginning and ending waveform and some interstitial frames are generated to give a slightly different result than pure linear crossfading.
The technique I’ve dubbed “RAIM” stands for “Random Adaptive Interpolated Magnitude” and works as follows:
The harmonics of the start and end waveforms are ever-so-slightly perturbed using a Gaussian distribution (so it’s quite subtle) and then morph targets are generated by interpolating the harmonics between the spectral magnitude of the two waveforms. But what about the phase of the morph targets? This is where we get to the “Adaptive” part (it refers to “Adaptive Phase Selection”). For each morph target, we generate two candidate waveforms, one with the phase of the “start” waveform and one with the phase of the “end” waveform and then select the one with the least DC offset. So, theoretically, there are fewer phase shift artifacts within the wavetable, but really it’s just an experiment in getting slightly different transitions than you’d get if you just had a two-frame wavetable! They sound quite cool.
Anyway, I hope you’ll come check these out and let me know if you have any issues using them in Vital!