That's what I do all day at my real job. It's the last thing I wanna do when it's synth play time in the evening.mellotronaut wrote:draw draw draw draw draw
Architecture Waveforms Cakewalk Edition use in Zebra2
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- KVRist
- Topic Starter
- 213 posts since 10 Aug, 2007 from Seattle
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- KVRAF
- 9590 posts since 17 Sep, 2002 from Gothenburg Sweden
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- KVRist
- Topic Starter
- 213 posts since 10 Aug, 2007 from Seattle
But are they categorized in any meaningful way? I'm being presumptuous here, but if they aren't then it doesn't solve the "overwhelm" problem.jupiter8 wrote:http://www.kvraudio.com/forum/viewtopic ... 90&start=0
A thousand or so waveforms.
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- KVRist
- 367 posts since 18 Dec, 2006
i am the one who asked andrew to talk to youUrs wrote:I've actually had talks with Andrew from Galbanum. Was a while ago. I have yet to write a tool that lets him convert his wave format to mine. But then we might see Architecture Universal Waveforms for Zebra as well
i think this would be a huge bonus for zebra and galbanum
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- KVRist
- 367 posts since 18 Dec, 2006
yes the are all categorized by type "am sine" "fm non sine" etc.....psychematic wrote:But are they categorized in any meaningful way? I'm being presumptuous here, but if they aren't then it doesn't solve the "overwhelm" problem.jupiter8 wrote:http://www.kvraudio.com/forum/viewtopic ... 90&start=0
A thousand or so waveforms.
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- KVRian
- 1100 posts since 4 Aug, 2004 from Copenhagen, Denmark
This talk about waveforms in Zebra is valid enough but lets say you had 1500 generic waveforms on your hands wouldnt that be absolute hell to navigate ?
Waveforms really dont mean a thing before you start adding filter and expression to a waveform. Some with rich harmonics are good for certain things while some with less harmonics are good for other things. By the time one starts to realize which waveforms could go where and why it will be year 2010.
My advice is just to dial in some completly random waveforms and see where they take you. Have a filter setup for pluck sounds and another setup for piano like sounds and try your wild created waveform in both setups.
This being said, there are really not THAT many waveforms that are useable. The best things are still Saw, Square, Sine, Triangle and SYNC to do stuff with. To emulate stuff like guitars, just paint a waveform with rich harmonics and have OSC FX soften it up in the high pitches. Same thing goes for piano stuff.
Single cycled waveforms sound crap (chipmonks) when played at anything than the key is was syntheseized for. The trick is to find waveforms suitable for the whole keyboard range. No single cycle waveforms do this job unless its limited to about the first 12 harmonics.
Want to explore waveshaping and waveform making then think of the additive part of Zebra as a huge organ with lots of tonewheels and start raising the levels on those tonewheels to create new waveforms.
Infact understanding additive and harmonics will open a world of posibilities to you if you give it time.
hmmm this reply got a bit longer than i expected
/Michael
Waveforms really dont mean a thing before you start adding filter and expression to a waveform. Some with rich harmonics are good for certain things while some with less harmonics are good for other things. By the time one starts to realize which waveforms could go where and why it will be year 2010.
My advice is just to dial in some completly random waveforms and see where they take you. Have a filter setup for pluck sounds and another setup for piano like sounds and try your wild created waveform in both setups.
This being said, there are really not THAT many waveforms that are useable. The best things are still Saw, Square, Sine, Triangle and SYNC to do stuff with. To emulate stuff like guitars, just paint a waveform with rich harmonics and have OSC FX soften it up in the high pitches. Same thing goes for piano stuff.
Single cycled waveforms sound crap (chipmonks) when played at anything than the key is was syntheseized for. The trick is to find waveforms suitable for the whole keyboard range. No single cycle waveforms do this job unless its limited to about the first 12 harmonics.
Want to explore waveshaping and waveform making then think of the additive part of Zebra as a huge organ with lots of tonewheels and start raising the levels on those tonewheels to create new waveforms.
Infact understanding additive and harmonics will open a world of posibilities to you if you give it time.
hmmm this reply got a bit longer than i expected
/Michael
www.xsynth.com - Sound Synthesis with Vintage flavour
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- KVRist
- Topic Starter
- 213 posts since 10 Aug, 2007 from Seattle
That's great advice, Michael. Thanks.
I guess what I would find helpful as a new user of Zebra would be a handful of waveforms, like 20-30, that cover the basics and also had some fun wave morph potential between them.
When looking at the OSC wave list offered by the defaults it comes across as a random collection. Something along the lines of the waves offered in Massive or FM8 would be better... not those exact waves but how they're offered as useful starts.
I guess what I would find helpful as a new user of Zebra would be a handful of waveforms, like 20-30, that cover the basics and also had some fun wave morph potential between them.
When looking at the OSC wave list offered by the defaults it comes across as a random collection. Something along the lines of the waves offered in Massive or FM8 would be better... not those exact waves but how they're offered as useful starts.
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- KVRian
- 1100 posts since 4 Aug, 2004 from Copenhagen, Denmark
The best way to go about this would probably be to have a pulldown list on the moreOSC page with 16 varied waveforms you could assign to a waveslot for each OSC Mode.
/Michael
/Michael
www.xsynth.com - Sound Synthesis with Vintage flavour
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- KVRAF
- 2621 posts since 12 Sep, 2008
Sure.... let's do it....
Want to talk about it again Urs?
-Andrew Souter
Want to talk about it again Urs?
-Andrew Souter
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- KVRAF
- 2621 posts since 12 Sep, 2008
It can take some time sure... but it helped by having good organization and classification....mkastrup wrote:Waveforms really don't mean a thing before you start adding filter and expression to a waveform. Some with rich harmonics are good for certain things while some with less harmonics are good for other things. By the time one starts to realize which waveforms could go where and why it will be year 2010./Michael
And yes, definitely expression, filters, mods, dynamics in preset design using the strengths of the host synth's architecture really makes the end result (the preset) great....
You would be surprised at the diversity that is possible using various methods of generation.... Timbres can be purposefully designed that would be very hard to achieve with random drawing... There are many, many possibilities....mkastrup wrote:This being said, there are really not THAT many waveforms that are useable. The best things are still Saw, Square, Sine, Triangle and SYNC to do stuff with. To emulate stuff like guitars, just paint a waveform with rich harmonics and have OSC FX soften it up in the high pitches. Same thing goes for piano stuff./Michael
I thought 1,000 was overkill at first.... Now I think 100,000 is not too many... Maybe I will make that many...
File management and navigation certainly becomes important when dealing with large numbers though, true...Depends completely on the transpose alg. Cakewalk Rapture is the perfect example, and I am sure others use similar techniques. Do you need 1024 partials for MIDI note A7? Absolutely not. Unless you want to experiment with extreme aliasing. But you do get close to that need in the lower base ranges if you want perfection...mkastrup wrote:Single cycled waveforms sound crap (chipmonks) when played at anything than the key is was syntheseized for. The trick is to find waveforms suitable for the whole keyboard range. No single cycle waveforms do this job unless its limited to about the first 12 harmonics.