Gotta love brute force experimentation...stratum wrote:May I humbly ask, how that framework is going to help you to create new sounds easily if the basic sound design method is brute force experimentation?
Actually, I'm no skilled mathematician, most sound designers and composers are probably not either, so you can look at brute force experimentation in bad light or the advantage that it gives people like me who suck at DSP.What is lacking in my current tools is the ability to precisely couple parameters (one example: controlling the filter cutoff in relation to oscillator feedback amount). I'm more or less done with my brute for experimentation for now. I'm just waiting to reap the benefits of what I've learned, I'm waiting for a feature-rich control scheme.
It goes like this: You tweak parameters for an hour and you hit a sweet spot. You then fine tune some more parameters and you get a "sweet range". That range is limited until you exercise precise control over how parameters change against other parameters. The cool thing is that you could build "quirks" into your patch by having parameters go to strange values at specific points, like a purposeful glitch to add nuance a la analog synth.
When it comes this stuff, one patch may be an entire instrument/synthesizer/fx unit of its own if the setup is complex and tweakable enough.
I made no claim of discovering this... I call it novel in more of the "interesting" sense, not the "new" sense. I think it is something that hasn't been explored as much as the subtractive and FM paradigms, which is silly, because chaos synthesis is extremely promising.
