I don't know yet. It needs a serious make over (rewrite?), but I'm not sure if I can spare a developer to do that.drzhnn wrote:BTW, what's the future of the scripted presets engine in u-he plugins?
I disagree. I'm glad you brought it up.hakey wrote:Well, I had a look at the function parsing input of that synth... hmm, yeah, too geeky. Sorry for bringing it up.
I'm going to try several options. I think a second parameter might be nice, but I won't make it too complicated.Weightlifter wrote:Dear Urs, please tell me, is it planned to change osc fx? Can add several parameters that change and control osc fx? Thus, there will be a lot of editing possibilities for osc fx. Thanks!
Thanks, even one additional parameter will be awesome!Urs wrote: I'm going to try several options. I think a second parameter might be nice, but I won't make it too complicated.
I went through 50 presets now. One had Velocity assigned to do something audible. Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth. I won't see this as a desirable thing anymorelnikj wrote:I hope you're not regretting it
Synth buying is retail therapy for many of us around here. This sounds an entirely different form of therapyUrs wrote:I went through 50 presets now. One had Velocity assigned to do something audible. Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth. I won't see this as a desirable thing anymorelnikj wrote:I hope you're not regretting it
Anyhow, I found a lot of quirks fiddling around. There are quite a few things that IMHO need attention. I don't regret buying it though, if there ever was any lingering feeling as to it becoming my nemesis, this feeling is gone. I'm sure the editors and options in Zebra3 will be on par.
According to drzhnn, it's already possible with the scripting engine. And the scripting engine was never all that popular, which might hint at why a formula parser for Z3 isn't such a good ideaSimon-Claudius wrote:I disagree. I'm glad you brought it up.hakey wrote:Well, I had a look at the function parsing input of that synth... hmm, yeah, too geeky. Sorry for bringing it up.
Any thoughts as to why they are apparently so successful? It all looks like style over substance. Is it just marketing and gimmicks?Urs wrote: Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth.
No idea. I'm just surprised that they get away with factory presets that don't allow for virtuosity. Which might be a pro rather than a con within various scenes.hakey wrote:Any thoughts as to why they are apparently so successful? It all looks like style over substance. Is it just marketing and gimmicks?Urs wrote: Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth.
That's something I instantly loved when I got Diva and realised how dynamic the presets was, truly playable. I remember thinking something like "these guys really get it", it feels more like an instrument for "real" musicians than a noise making tool. Opening up Spire after that felt like shit pretty much. It's funny that most of them is fully capable of mapping velocity to a lot of params but rarely do in the presets. I guess presets without velocity works fine for people who input most of their notes in the daw and simply use mod-wheel automation to change the sound in most cases. (On the other hand I still think Spire has a strong/unique enough sound to be worth having.)Urs wrote:No idea. I'm just surprised that they get away with factory presets that don't allow for virtuosity. Which might be a pro rather than a con within various scenes.hakey wrote:Any thoughts as to why they are apparently so successful? It all looks like style over substance. Is it just marketing and gimmicks?Urs wrote: Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth.
Though quite a few virtuoso players made great music on a Minimoog.mrj1nx wrote:That's something I instantly loved when I got Diva and realised how dynamic the presets was, truly playable. I remember thinking something like "these guys really get it", it feels more like an instrument for "real" musicians than a noise making tool. Opening up Spire after that felt like shit pretty much. It's funny that most of them is fully capable of mapping velocity to a lot of params but rarely do in the presets. I guess presets without velocity works fine for people who input most of their notes in the daw and simply use mod-wheel automation to change the sound in most cases. (On the other hand I still think Spire has a strong/unique enough sound to be worth having.)Urs wrote:No idea. I'm just surprised that they get away with factory presets that don't allow for virtuosity. Which might be a pro rather than a con within various scenes.hakey wrote:Any thoughts as to why they are apparently so successful? It all looks like style over substance. Is it just marketing and gimmicks?Urs wrote: Just like the other S-synths I've tried. You gotta be f**king kidding me if this is the key to a successful EDM synth.
As a virtuoso harpsichord player, I take offense to the notion that velocity sensitivity is a requriement for virtuosity. In fact, dynamics are way over rated. Serum is to EDM as the Harpsichord is to Baroque. Say it with me: velocity is over rated.Urs wrote:No idea. I'm just surprised that they get away with factory presets that don't allow for virtuosity. Which might be a pro rather than a con within various scenes.
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