One Synth Challenge #110: JuceOPLVSTi by Bruce Sutherland (Taron Wins!)

[TrojakEW]

It's much more of a challenge to coax particular sounds out of a synth that wasn't actually designed to even be able to create such patches. Doing so can show off the hidden strengths of a synth, that even the developer may not of even thought possible.

This.

So this is a philosophical question -- would it not be better to dig into the sound making capabilities, strengths and weaknesses of the device, and just create sounds that utilize those characteristics? Rather than thinking in terms of "how do I make a trumpet", think in terms of "what does this software do that is unique, exciting and provides a creative launch point for composition?Thanks!

You can choose your way. Nothing wrong with any decission. I rather prefer "not go with crowd". For example if we use Noisetar in OSC #103 it will be just noise because what it doeas its mostly noise. Also whole KVR forum is filled with question like what is the best synth for "blablabla". No synth can make you master but you can master any synth out there and use it to "anything" you want.

[generaldiomedes]

Definitely learning a lot about bare bone, basic sound design on this one.

Yup, I have never played with FM in a serious way, really appreciating the learnings this round, even if only a 2-operator FM.

[hivkorn]

no vst format for OSX ?

[Guenon]

It's much more of a challenge to coax particular sounds out of a synth that wasn't actually designed to even be able to create such patches. Doing so can show off the hidden strengths of a synth, that even the developer may not of even thought possible.

I think I'm one of those people who definitely enjoy the challenge of creating a surprisingly recognizable sound or two when ever tackling a synth in this manner. Usually combining them with more freeform "the characteristics of this synth lean this way" sound design, then. It's a nice way to make it all sound more organic, too, and when it ends up being pulled off well enough, it gives it some more of that "you did this with what, again?" factor.

In the case of the current synth, though, this specific architecture was literally designed to create imitations of acoustic instruments and such (think general midi type of stuff here), so that sort of material is what I would expect to hear before pressing play, haha. In a very synthy manner of course. In any case, coaxing an actually realistic acoustic sound out of it is of course a nice surprise in its own right. Make something convincing with it, and it's a great display of skill.

Just thinking out loud here, as usual, ehhh, I feel like I probably don't have time to actually enter this round, as was with the Fathom one. Probably going to take a while and then return

Anyway, the tracks Dr. Bob has posted are musically and stylistically sooo spot on what I was hoping to hear when I noticed it's OPL time

[ontrackp]

Thanks for the interesting perspectives. I think I tend to focus on the compositional challenge more than the sound making challenge, although I avoid using presets, and I try to let the sounds lead me down new composing paths. That being said, all these perspectives are what make OSC so much fun.

[generaldiomedes]

WIP - any comments welcome.

I definitely used a lot of EQing to add movement and trim the harshness but I still think it sounds like an FM track. Getting close to final song structure, will have to toy with different chords (the chord section doesn't transition very well) and add some bells and whistles.

https://soundcloud.com/user-947450193/osc-110-juce-opl

[] Peter:H []

You can choose your way. Nothing wrong with any decission. I rather prefer "not go with crowd". For example if we use Noisetar in OSC #103 it will be just noise because what it doeas its mostly noise. Also whole KVR forum is filled with question like what is the best synth for "blablabla". No synth can make you master but you can master any synth out there and use it to "anything" you want.

Noisetar is a really good example of a synth that guided me...each synth brings in it's capabilities. in combination with my preferences, my memories and experiences, my current mood, it will find it's way into a new particular sound painting...

[TrojakEW]

WIP - any comments welcome.

Track is nice so far.

I still think it sounds like an FM track.

Regarding character of this FM synth. In order to avoid that one must forget about this distinct FM brass sound. Also so far I hear from all tracks posted, drums and percs need different approach since this is second sound that is characteristic for FM. As I said before nothing wrong with it but if you don't want your track to sound like pure FM those two need to be changed.

[schiing]

It's really cool to play around with this emulation. I started making digital music in the early '90s, so these sounds are very familiar, definitely a feeling of déjà vu. It's been a long time since I last tried to tame OPL FM, though!

Here are my thoughts so far: I think with this synth, you have to make a decision - either embrace the FM-ness full on in all its beautiful ugliness, with those harsh sweeps and ear-piercing attacks, or, for a more "professional" sound, build a base with more subtle sounds, and rather let the FM shine through in selected pockets. I opted for the last alternative - hopefully I'll pull it off!

I think it's important and unavoidable to eq the individual sounds for a decent result here - with no in-built filtering options in the synth, the sounds are all over the spectrum. The good thing is that you can get a good mix with a bit of work - plenty of highs and lows to work with!

[doctorbob]

Yes, I agree with the above - EQ is definitely your friend. I don't see a huge point in trying to make very realistic instruments every time! What I do is to audition the synth, make sounds I like and think about genres, do some composing, try some rough instrumentation, tweak each and every sound so it fits my ear (and possibly genre), do a rough mix - basic EQ and reverbs - and see how it sounds. Something which initially sounds pretty awful can come out quite well once the mix gets going, or it might get junked and start again.

Am enjoying this round, and yes, it's a bit "sharp" around the edges, high frequencies can be very shrill! But then, once EQ'd, things start to sound smooth.

Just my thoughts, and if my instruments don't quite sound like the real thing - well ... they probably were not supposed too!

dB

[doctorbob]

... I started making digital music in the early '90s, so these sounds are very familiar ...

So, a youngster then! Late 60's for me ... EMS, home built stuff, reel-to-reel tape, splicing etc ...

dB

[schiing]

... I started making digital music in the early '90s, so these sounds are very familiar ...

So, a youngster then! Late 60's for me ... EMS, home built stuff, reel-to-reel tape, splicing etc ...

dB

I must be! To be 100% acurate, I did code Axel F and Crockett's Theme with POKE commands and such on Commodore 64 in the mid-1980s, at the tender age of 15.

[progtronic]

[schiing]

Whatnow?? Progtronic, don't tell me you're an octogenarian who hung out with Harry F. Olson and Herbert Belar in the 1950s, living in an old water tank on a rubbish tip!?

Aye, you try and tell the young people today that and they won't believe ya. Who'd a' thought thirty years ago we'd all be sittin' here drinking Chateau de Chassilier wine??

[ontrackp]

My first computer was a Timex Sinclair 1000 in 1982. I did not make music on it. First music computer - Mac Plus with midiPaint and Jambox. Changed my world.....