ORCΛ Esosampler Companion
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Hints and Tricks

The most important advice i give you on using folderkit is just to keep you messages as simple as possible. Organize your folders with ready to use instruments alreadi mixed at the right volumes, keeping the arguments count for your messages to 5 or less (just folder, subfolder, pitch and pan should be enough).

Even with longer messages, if you avoid setting all the parameters the empty space between them will give you some separation to visualize and understand all parameters you are actively using.

Sustained envelopes tracking

This structure will trigger the sample only on non empty values, and will hold it as long as the controlling value is not empty (while still changing its transpose). You can control the envelope attack in the top message and the release in the bottom message. A T track is used as example for sequencing:

2Cg.................
.7gT633...00...231..
81X0L0..............
..0F0...............
..F*=a7s1.0..z......
....................
..=a7.....z2........

1-voice subtractive synth

By using the single cycle waveforms together with the various kind of filters, you can get a message that forms a basic subtractive synth. Assuming 'w/s' is a saw wave:

.D4.................
.*=afws4...8.m7..2.6

you can have separate envelopes like in the example, or just use the first one if you "just" use 13 arguments.

1-voice FM synth

Folderkit features a FM operator FX, which uses the wave/sample as modulator, so if you have some single cycles waves for the modulator you can get a basic one voce FM synth. Assuming 'w/i' is a sine wave:

pV3.................
....................
.D2.....Vp.....Vp...
.*=bfwi43.18.o438.24

As for the subtractive synth, you can have one envelope or separate, like in the example.

Karplus synthesis with the k comb filter

The k FX is a comb filter put directly after the amp, so the amp can be controlled to create an impulse to feed the filter, creating a karplus-strong synthesizer. Assuming x/p is a noise (for example pink noise) sample:

.D...............
..=acxp....2.k37d

The k23d is connotating the k comb filter, octave 3, transpose 7 and d feedback. The amp envelope as a release of 2, for creating the short impulse, Different release times can create louder or softer notes.

Parameters memos

If you are using very long messages, a good thing to do is write lowercase letters to mark the parameter you want to manually change live, to find them easier.

For example in this very convoluted message i just tweak the attack and release, so i put an ar on the bottom:

............Ks.
=4cwt2.1.4.x37.
........ar.....

There's no need for commenting as lowercase letter are naturally inactive ( so you can reserve comments to comment or decomment code blocks ).

Another trick you can do is write down a list of parameters to manually copy together, some kind of copy-paste presets.

Here i memorize two different envelopes + volume combinations:

.....Ks.j1g..
=28s4372j1g..
........00c..

I copy j1g or 00c manually to change the sound from a full volume with a short envelope to lower volume with no envelope.

Grainclouds

D1.....1Ra...
*i8.#p#.9....
j4A1.4AhJ....
*=27sal.933..
........#ar#.

This structure will trigger the voices 1-9 one after each other, the numbers on the top of #ar# are used to tweak attack/release of each grain and the number on the bottom of #p# is used to control the (jittered) grain position. The grains will be padded at random with 1Ra. The samples in /s/a will be used. Many variation on this structure are possible, for example adding FX like lowpass or comb filters, or by duplicating the structure to make more grainclouds (remember to change the number that is added to the voice address, in this case 1, to avoid the use of the same voices in different clouds).