trance_lucent wrote: Esgalachoir wrote:
(I'm not a very tidy keyboardist...
But very talented composer and sound designer!
Your strings and brass and woodwinds are gorgeous! Can you please write a couple of words describing overall principle of your synthesis scheme? Are you working mainly with waveforms/spectrum, or at higher level with Osc FX and filters? FM/Ringmod?
Thank you for the compliments!
Well, the first thing that came to my mind in all honesty was: Messy
I spend a LOT of time experimenting. Before I come up with something satisfactory, lets say, a brass instrument, I'll usually have come up with anything from 2-10+ patches on my way to the final result that don't necessarily sound like brass, but can serve other purposes down the road should the occasion arise. I don't always get exactly what I want, I'm really REALLY haphazard. That's my workflow as of now, but I've been trying very hard to get cleaner, more cpu efficient results, as long as I don't sacrifice timbre.
I do a combination of all kinds of synthesis. For modelling physical instruments, I seem to be favoring a lot of spectral painting, especially for the woodwinds. The AP Phaser filters are really crucial to my sound as well - you can get a lot of different timbres running your signal through them: rounded, nasal, flat, edgy, etc...
Also, I just discovered how much the shape modules help. You can get that last bit of ring/punch you need tinkering with the wedge option on. This works really well for getting that growl out of your brass.
As for FX, I use the Delay modules to add a little space.(really crucial, because you don't want your instruments to sound like they're nowhere
) I'll usually switch to the multitap 4 mode, turn both feedback knobs all the way down, and make the delay times very short.
I suppose, to summarize my words, you can really achieve good results from just about any kind of synthesis, it just takes some digging, so you're going to get super messy. Ugh, I am getting old, I keep repeating myself...
Have a good one!