Strings synthesizer

[hakey]

Nailing the sound with the ensemble on top is a whole different kettle of fish - no amount of (static) EQing will give you the dynamic timbre produced by three separately modulated delay lines.

Ah, but I wasn't using just a static (or not) EQ in my experiments.

AFAICS, replicating a globally applied ensemble effect is beyond Zebra too (for a start there's only two global lfo's).

It'll be interesting to see/hear what you come up with.

[mcnoone]

I need to find a way to assign an EQ or some other spectral shaping module to key range. It would be nice to be have envelopes for the whole keyboard range for each EQ band. Something like the filter scaling envelope in Krakili's StringZ synth, or Newsofting's Modelonia (the tuning sliders).

You can try an SB-sideband module in the path. It can have keyfollow or mod mappers set to it's Mix setting, which can act as an eq for mids.
The default sb setting 10hz- no modulation on the frequency and offset. Then you can use keyfollow, or mod mapper thingy on the Mix.
This will give you some eq variation over the keys.
Gradual with the keyfollow with more control using the mod mapper.
It seems to only effect the mids, but there's more use in those sb modules than some might assume.

[himalaya]

Thanks. I shall give that a go.

[himalaya]

This is what I've been saying earlier on in the thread, once the actual basic tone of the oscillator is right, and the chorus sounds right, the overall string sound will be good enough.This is especially evident once a strings patch like this is used within a mix with lots of other effects. Once you add a phaser, an effect very often used with these sounds, the divide-down phase thingamabobs get blown into smithereens.

Yep, "the differences will be difficult to detect in a mix with effects on top" argument is valid - but from this argument one might then go on to conclude that Synth1 is adequate most, if not all of the time.

And that wouldn't be such a bad conclusion provided I can shape the Synth 1 output with a comprehensive EQ and add a suitable chorus. The purist will scream blue murder, but I will chill to some creamy string machine washes.

[hakey]

And that wouldn't be such a bad conclusion provided I can shape the Synth 1 output with a comprehensive EQ and add a suitable chorus.

Why bother with the comprehensive EQ and chorus? Just use the onboard EQ, chorus, phaser and delay - in a mix no one will know.

[Howard]

I need to find a way to assign an EQ or some other spectral shaping module to key range. It would be nice to be have envelopes for the whole keyboard range for each EQ band. Something like the filter scaling envelope in Krakili's StringZ synth, or Newsofting's Modelonia (the tuning sliders).

You can try an SB-sideband module in the path. It can have keyfollow or mod mappers set to it's Mix setting, which can act as an eq for mids.
The default sb setting 10hz- no modulation on the frequency and offset. Then you can use keyfollow, or mod mapper thingy on the Mix.
This will give you some eq variation over the keys.
Gradual with the keyfollow with more control using the mod mapper.
It seems to only effect the mids, but there's more use in those sb modules than some might assume.

You can get more tonal variety out of an Allpass filter (with plenty of resonance!) in parallel with the main signal i.e. use an extra lane in the main grid. Then modulate its cutoff using a ModMapper in Key mode, to tune the tone of each note.

[himalaya]

And that wouldn't be such a bad conclusion provided I can shape the Synth 1 output with a comprehensive EQ and add a suitable chorus.

Why bother with the comprehensive EQ and chorus? Just use the onboard EQ, chorus, phaser and delay - in a mix no one will know.

Nobody has qualified the requirements as that of only using onboard processing, so why the snarky reply?

All along I'm referring to certain tools which are needed to get close to the string synth sounds. These tools include comprehensive equalization and chorus, tools I have been using in Zebra. Synth1 has only one band of parametric EQ, good enough for one mid boost, but the actual sound may require two or more mid boosts, a high cut, a low-mid boost at a very specific frequency, etc.

[hakey]

why the snarky reply?

I apologise if that came across the wrong way. Honestly, there was no intended snarkiness. Just arguing the point to its daft conclusion.

[hakey]

All along I'm referring to certain tools which are needed to get close to the string synth sounds. These tools include comprehensive equalization and chorus, tools I have been using in Zebra. Synth1 has only one band of parametric EQ, good enough for one mid boost, but the actual sound may require two or more mid boosts, a high cut, a low-mid boost at a very specific frequency, etc.

Okay, I pointed out that at least part of the sound of string synths is down to the DDO behaviour.

You argue that in a mix with phasing and reverb on top such detail is unimportant (and I agree).

But then you talk about requiring "a highly controllable EQ or a formant filter bank".

To which I counter - in a mix with phasing and reverb on top such detail is unimportant.

Either the details like DDO behaviour, nailing the timbre of an oscillator, or a TB303's filter response are somewhat important, or they're not (in which case Synth1 is probably good enough for everyone's synth needs).

No snarking.

[zbpc1]

Is there a bank of these string patches I can download?

[pdxindy]

I need to find a way to assign an EQ or some other spectral shaping module to key range. It would be nice to be have envelopes for the whole keyboard range for each EQ band. Something like the filter scaling envelope in Krakili's StringZ synth, or Newsofting's Modelonia (the tuning sliders).

Not sure what you mean, but you can modulate the eq freqs via keyrange if you want to in the mod matrix... I do this for vocal sounds... every parameter of the eq is a mod target so use mid1 freq and mid2 freq as targets and use keyfollow as the modulator... or if you want more precise control you can set the freq per key using modmapper.

[himalaya]

But then you talk about requiring "a highly controllable EQ or a formant filter bank".

To which I counter - in a mix with phasing and reverb on top such detail is unimportant.

I wouldn't call the sound received through using the EQ and the right chorus as "detail".
The basic oscillator timbre needs to sound correct, and for that to happen you need to sculpt the oscillator in a soft synth, whichever way you like, to get that sound. The sound of a Roland RS-202 is very characteristic* and even when used with a phaser + reverb that sound will stamp its identity on the output. However its phase locked notes will become smeared and will no longer be of significant issue. Obviously the sound of phase locked notes is specific and I'm not denying that it is important, it is, but not in the mix (for me anyway).

*characteristic as machines like Solina, Hohner String Melody 2 or Yamaha SS30 have that very smooth, lush BBD chorus sound, unlike that of the RS202, which is more bare bones and 'raspy'.

[himalaya]

You can also draw your own osc waveforms with peaks

I've only tried the GeoMoprh mode which has a fine line between keeping the sawtooth sound and veering off into another timbre (a square or something other). But I've yet to play with the GeoBlend and SpectroBlend modes. They look like fun!

[hakey]

Himalaya, I do understand the argument you're making. With respect, I just don't agree that the DDO effect is as unimportant as is nailing the timbre of the raw voice essential.

My feeling is that the ensemble is probably more important than either (and probably nigh on impossible to replicate accurately in Zebra).

Have you got a sample of a raw (non-chorused) RS 202 voice? Can't find a good example on Youtubes.

[himalaya]

You can get more tonal variety out of an Allpass filter (with plenty of resonance!) in parallel with the main signal i.e. use an extra lane in the main grid. Then modulate its cutoff using a ModMapper in Key mode, to tune the tone of each note.

This is truly awesome! I have tried this now and its immensely controllable and very easy to use! The large pop out window is of great help (initially I thought, "oh noes, am I suppose to dial in all those frequencies using that small window..." , but then I clicked on that 'plus' icon). Another unexpected surprise is the way the keyboard is scanned with realtime feedback of played notes. I'm actually very excited about this set up as it's a gateway to wickedness.