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Thread: Synthesizers (and other pro audio stuff)

  1. #201
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    I think with Mylar it depends on where he's reviewing something. Sometimes he's on other channels, especially stores, where he's clearly just marketing stuff. His personal videos are really good though.

  2. #202
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Quote Originally Posted by demagogue View Post
    Speaking of Make Noise, I was also just watching one guy going over their Black & Gold set up that just came out a few days ago. (Edit: I mean the video just came out a few days ago, not the system.)
    I like Andrew Huang's stuff too - he's a really good musician and educator. His video explaining FM synthesis was brilliantly done.
    I would love a MN shared system, but more for the excellent CV bus than the actual modules. I do like MN, but not enough to have an entire rack of their stuff.

    The CV bus was originally designed for Alessandro Cortini and every time I see it I want one.

  3. #203
    Member
    Registered: Jul 2002
    Location: Edmonton
    I'd be pretty happy with nothing but a shared system, I think. Meanwhile, I'm starting to get the hang of Strega.

  4. #204
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Love those sounds - you've definitely brought it to life.

  5. #205
    Member
    Registered: Jul 2002
    Location: Edmonton
    Thanks! The trick is how to integrate them into actual tracks, which I havenít really figured out. Iíve been working on one track since I got it, and it sounds pretty good but is basically drowned in reverb. I want to get better at making ambient music that doesnít rely on reverb, but I have this maybe irrational aversion to using identifiable sounds.

  6. #206
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    That sounds awesome. I wish I didn't have an aversion to desktop modules because I'd really like one. I really hope they do an integrated system with it at some point.

  7. #207
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Quote Originally Posted by Aja View Post
    I want to get better at making ambient music that doesn’t rely on reverb
    So a new genre entirely then?

  8. #208
    Member
    Registered: Jul 2002
    Location: Edmonton
    Maybe more like this:



    There's obviously still reverb, but it's not the main ingredient.

  9. #209
    Moderator
    Registered: Jan 2003
    Location: NeoTokyo
    There are some voices that sound really evocative when you have them near to 100% dry. Especially I like a really dry snare beat you hear in funk, and I've always thought that sound could be exported. You could probably make a genre out of it and call it dry core.

  10. #210
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Rick Rubin is pretty well known for very stripped back production sound.
    Good example here: https://youtu.be/YlUKcNNmywk

  11. #211
    Moderator
    Registered: Jan 2003
    Location: NeoTokyo
    Well this is news.
    Focusrite buys Sequential, taking ownership of Dave Smith’s analogue synths

    Focusrite also owns Novation, so at least it's in good company and they can share tech. They'll get better financing. And I'm sure they're smart enough to let Sequential keep its name, considering how long it took for DS to get it back, and that they keep its design philosophy.

    And Dave seems happy with the acquisition, so that's a good sign.

  12. #212
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    I own Focusrite, Novation & Sequential products, and I really like the Focusrite support, so I don't see any way this will be bad.
    Novation's latest flagship synth is really nice, so any crossover of in house expertise ought to be interesting.

  13. #213
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    Speaking of Sequential, I think I'm going to bite the bullet and get either an OB-6 or a P5Rev4 this summer. I keep fluctuating wildly back and forth between which one I want though, or whether buying another polysynth is a smart thing to do, especially when I know PghMod are releasing some new instruments later this year.

  14. #214
    Member
    Registered: Jul 2002
    Location: Edmonton
    As someone whoís been starting to feel the limitations of his Minilogue lately, I say do it.

  15. #215
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    OB-6 is beautiful.
    I never stop wondering if I should have got one instead of the P6, but can never make my mind up.

    Worth noting that recent firmware for both P6 & OB-6 includes a global option to turn the slop parameter into the new P5's vintage parameter.
    From what I have read, slop applies increasing detune to the oscillators to mimic tuning instability in older synths, whereas the vintage parameter adds drift to per voice filter cutoff, envelope timing, pitch and amplitude to mimic older stuff. I have my P6 set to this now and it sounds a million times better than slop did.

    What's more, I've started applying the principle to patches I make in VSTs and it makes them sound a lot more alive and interesting. So I'll generally add a tiny amount of key-triggered randomness to the aforementioned parameters (it isn't per voice unfortunately as I don't think any of my VSTs have that level of modulation granularity). With the addition of some emulated saturation, I really can't tell a difference between what is analogue and what isn't on my tracks.

    On the subject of VSTs, I cannt praise Arturia Pigments highly enough - it is currently on its second free update which included new synth engines (additive mainly), oscillator types, effects, filters and more. It is one of the best synth UIs ever designed I think and sounds amazing (no surprise when you conisder how much R&D they have put into emulating classic analogue & digital synths).

  16. #216
    Member
    Registered: Jul 2002
    Location: Edmonton
    Yeah, one of the best things you can do with the Minilogue is use the LFO to create a subtle pitch variation. Its oscillators arenít totally stable anyway, but thatís what makes it sound good. A while ago I was playing a single chord on it into a giant reverb, and it was remarkable how much variation there was in the sound ó subtle phasing, overlapping, harmonics coming in and out. Then I tried with my Reface DX, and it sounded flat by comparison. Thatís kinda why I sold it. There just werenít enough modulation options to make it sound not static, which isnít what I want for drones (in a pop band it would be awesome, though).

    Iím a little bewildered when people nitpick synths for their so-called flaws. Maybe Iíve just never played a synth I didnít like, and in my experience the flaws are what give them character and make them interesting. I guess the fact that we have ďslopĒ parameters speaks to that. One of my favourite patches on the Minilogue uses voice stealing in an interesting way that sounds disjointed but pleasing. You gotta work with what you have (I say as I contemplate buying new things).

  17. #217
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Holy shit.


  18. #218
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    The colossus is gorgeous, but you can't beat the original Synthi 100.

  19. #219
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    I just watched Hainbach's Strega video finally, and I think I'm going to eventually get one. It seems like it would be a good VRL companion feature-wise.


  20. #220
    Member
    Registered: Jul 2002
    Location: Edmonton
    I haven't used mine much since the weather started to get nice, but I'm pretty sure I'll be keeping it. It feels so mysterious and alive, and it's a lot of fun to experiment with.

    I'm finding it a little harder to be productive with it, however, because of a few things. I wish that there was either a second filter or low-pass gate that came after the oscillator but before the delay or else give me a direct wavefolded output that I could filter it myself and then inject back into the delay.

    The other thing is that the oscillator, while it sounds great, has suboctaves in two-thirds of its wavefolding range, and sometimes they're tricky to rein in. If you just transpose it an octave up, you get this organ-y sound that's cool but you might not always want. A filter might help with this. Guess that's not what they were going for, and the fact that you can't really do traditional synth sounds with it could be seen as a positive.

  21. #221
    Member
    Registered: Jul 2002
    Location: Edmonton
    Then I watched this:



    And it makes me think I've been going about Strega all wrong. The delay isn't a delay; it's a timbre control and should be treated as such.

  22. #222
    Member
    Registered: Jul 2002
    Location: Edmonton
    I guess I'll post this here rather than the music creation thread. I've released a new ambient track. My 2021 plan is to try smaller, more regular releases. Here's the first one, a tribute to my poor kitty, who died a year ago yesterday.

    Last edited by Aja; 4th Jun 2021 at 16:34. Reason: can't stop editing it

  23. #223
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    Nice
    Last edited by Jason Moyer; 6th Jun 2021 at 22:21. Reason: EDIT PARTY

  24. #224
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    That's really nice.
    I've added it on Spotify.

  25. #225
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    DOUBLE POST!

    This looks great (if a little fiddly).


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