This guy makes his own FM8 presets - especially the strings sound amazing:
Is it something specific for FM8 only or could these sounds be also re-created in Rhino?
Amazing FM synthesis
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- KVRAF
- 3388 posts since 29 May, 2001 from New York, NY
Yes, it sounds amazing. I don't think FM8 has anything specific that Rhino couldn't do, quite the contrary actually. As for programming these sounds, Daniel is probably best to answer this, some of his FM presets blew me away - especially the one called DX Strings, really expressive.
'Tick
'Tick
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- KVRAF
- 5666 posts since 23 Mar, 2006 from pendeLondonmonium
Wendy Carlos' 'Switched on Bach 2000' was performed using FM synth techniques almost exclusively. So these sounds are not specific to FM8 and any well featured FM synth is capable in the hands of an FM expert.
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- KVRist
- 273 posts since 5 Mar, 2003 from US
Can Rhino do this same thing? Yes. The only specific thing FM8 can do over Rhino is multiply/layer voices and detune against itself. So, take any fair preset, put 4-8 layered notes on each key, detune it and you have a great sounding ensemble instrument.
Must confess, however, that I was not overly impressed with the sequences; they lacked articulation which is vital for emulating an acoustic instrument. As a string player increases bow pressure the harmonic content and volume change. Also, attack and release times can be varied note to note which can be a challenge to recreate electronically.
Please listen to the first two presets here: http://synthprograms.com/media/DIR_122/ ... 20Demo.mp3 (or here: http://synthprograms.com/10573.html) The strings swell and sing; vibrato is added at the proper moment and then, they fade away unobtrusively. The clarinet is expressive in a similar manner. This is done by programming the envelope times and amount of FM (overtones) to be velocity responsive. If this range is too great, however, it will be difficult to play anything consistently. To get the larger swells and fades, volume and FM are adjusted by the Mod Wheel while playing. Those presets are from the Bread and Butter bank which is freely available.
A strict comparrison of Rhino to FM8 isn't really apples to apples, though. It might be better to think of Rhino as the love child of FM8 and Absynth that has grown up and gotten a place of it's own.
Must confess, however, that I was not overly impressed with the sequences; they lacked articulation which is vital for emulating an acoustic instrument. As a string player increases bow pressure the harmonic content and volume change. Also, attack and release times can be varied note to note which can be a challenge to recreate electronically.
Please listen to the first two presets here: http://synthprograms.com/media/DIR_122/ ... 20Demo.mp3 (or here: http://synthprograms.com/10573.html) The strings swell and sing; vibrato is added at the proper moment and then, they fade away unobtrusively. The clarinet is expressive in a similar manner. This is done by programming the envelope times and amount of FM (overtones) to be velocity responsive. If this range is too great, however, it will be difficult to play anything consistently. To get the larger swells and fades, volume and FM are adjusted by the Mod Wheel while playing. Those presets are from the Bread and Butter bank which is freely available.
A strict comparrison of Rhino to FM8 isn't really apples to apples, though. It might be better to think of Rhino as the love child of FM8 and Absynth that has grown up and gotten a place of it's own.
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- KVRian
- 1184 posts since 13 May, 2004 from SF Bay Area, California
I'm a big fan of CS_TBL's arrangements. I like the emphasis placed on orchestration and well-balanced textures. In contrast, attempts at more expressive soloistic FM synthesis just sound "fake" to me -- they mimic the expressive gestures of acoustic instruments but with noticeably less detail and nuance. The tracks szurcio posted are like cartoons; the demos daniel posted are like third-rate photorealism (and I blame the medium more than any lack of ability on daniel's part -- there's no doubt he's a skillful programmer!).
If you like 80s retro sounds, check out my latest tune…
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- KVRian
- Topic Starter
- 829 posts since 25 Nov, 2005
Yes, to me it's also more appealing if a sound designer is not trying to exactly model a physical instrument (with all articulation nuances etc.) but rather get a timbre close to or reminding of a specific instrument. I already have sample libraries for more realistic orchestrations. But it would be great fun to get a whole soundbank of synthesized orchestral instruments to create a similar (not very realistic but beautiful sounding) rendition of a Bach concerto..
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- KVRist
- 273 posts since 5 Mar, 2003 from US
This showcases what I love about music (and art in general); distinctly different approaches, none of which are wrong.
Creating a new orchestra of timbres rather than emulating an existing one is a very appealing idea. However, I will continue to program nuances in my sounds for those that care to take advantage this; different approaches...
Creating a new orchestra of timbres rather than emulating an existing one is a very appealing idea. However, I will continue to program nuances in my sounds for those that care to take advantage this; different approaches...