KVR Audio

Howard · Post by **Howard** » Wed Sep 07, 2011 9:48 pm

Angus_FX wrote:...the feedback loop between the player and instrument...

Peter999 · Post by **Peter999** » Wed Sep 07, 2011 9:51 pm

Urs wrote:Honestly, the analysis of these synths unveiled so many things that we hadn't known about and that are not mentioned anywhere. Did you know that the Minimoogs glide is faster when going up than when going down? Did anyone ever point out that holding a second key on a Minimoog transposes the pitch by a few cents? It might not matter all that much and it might be different from individual Mini to individual Mini, but these might be little hints that explain why some people feel that digital emulations are lacking something (even if they commonly can't pinpoint what or why). We've discovered numerous such oddities that we haven't found in current emulations nor in manuals or schematics. It's quite some fun to implement such stuff and it will certainly have an influence on our "modern" stuff as well.

Very important point indeed. It's not only the behaviour of a single part (like e.g. filter), but the behaviour of the whole system that makes up the whole feel, all these special oddities

In fact the nowaday's strengths to emulate a real analog still are about how to make the ear - or more precicely, the brain - believe you are playing a real analog; this can be done better or worse, and you don't need to emulate every tiny single part of a complex system to obtain this impression

I think a whole new dimension in va technique would be achieved if a digital system wouldn't be just about emulating anything, but about generating an own "unpredictable" live of its own based on an enormous complexity comparable to a real analog system; for this you probably had to emulate every single electronic part like transistors, resistors, capacitors, etc. with all their specific behaviours, temperature drifts, tolerances etc. and let them interact like in a real circuit; I however guess this still would kill nowaday's cpus

himalaya · Post by **himalaya** » Wed Sep 07, 2011 10:00 pm

Howard wrote:
Angus_FX wrote:...the feedback loop between the player and instrument...

I've been stuck is such a loop which here, it results in a 50hz noise...

himalaya · Post by **himalaya** » Wed Sep 07, 2011 10:06 pm

ryandfl wrote:Reading this thread has gotten me pumped about Diva!

I think one area where there is a lot of room for growth is GUIs.

Zebra and Twin2 are great examples of putting the soft-space of software to good use with their modular layouts. Massive is excellent very good at showing how things are being modulated.

I think those are just good starting points though. More visual feedback, more intuitively and easy to manipulate automation, more parameter screen that pop on and off without feeling overly complicated. I think those things will make it easier for everyone to produce better sounds and better music.

Agree. This new graphic visualisation is the way forward. At least I'd love to see more of such designs, and see less of the mod matrix. The system employed in DCAM is another example of a very smart modulation system, both in features and display (FAW Circle being another). Using a mod matrix after having experienced such fast and easy to use systems feels archaic.

Lotuzia · Post by **Lotuzia** » Wed Sep 07, 2011 10:06 pm

Urs wrote:
lokifuego wrote:In all that discussion, I have just one simple question: why virtual analog?
Why to emulate something, when it would be easier to design something new from scratch?
Our analogue synths are fading slowly. We want to preserve them. Those worthy and doable.

Honestly, the analysis of these synths unveiled so many things that we hadn't known about and that are not mentioned anywhere. Did you know that the Minimoogs glide is faster when going up than when going down? Did anyone ever point out that holding a second key on a Minimoog transposes the pitch by a few cents? It might not matter all that much and it might be different from individual Mini to individual Mini, but these might be little hints that explain why some people feel that digital emulations are lacking something (even if they commonly can't pinpoint what or why). We've discovered numerous such oddities that we haven't found in current emulations nor in manuals or schematics. It's quite some fun to implement such stuff and it will certainly have an influence on our "modern" stuff as well.

Its not because we dont put it in the manual that its not in the sound

But the examples are good, and there are numerous weird things on a given analog synth if you study them very closely. And I totally agree with you that all these tiny (or not so tiny) alterations are one of the Keys of what is "true" analog sound and the kind of Vaudou Magic usually associated to them.

LtZ

breakmixer · Post by **breakmixer** » Wed Sep 07, 2011 10:06 pm

I like VA VST's with Oscillopes built in like Strobe and ACE, it makes them sound more analogue...

I think if we had a VA synth built by a colaboration between Peter999, Urs, Xavier and FXpansion the results would be quite stunning...or not?

I wouldn't bring in D16 though, it would never get finished...

Sorry just bored...

wikter · Post by **wikter** » Mon Apr 24, 2017 9:06 am

2017. VA is kept as sound development. Roland, Yamaha, Korg, U-he, NI, Arturia, Novation, etc...
Why is it still developed in PCM instead of DSD sampling mode?
How many daws support DSD sampling? And how many didn't need to translate DSD into PCM to process and edit?
Is there any DSD virtual instrument?

Are virtual analog synths no longer being developed?