One Synth Challenge #154: Triple Cheese by u-he (schiing wins!)

[doctorbob]

Don't think external drums have been allowed. I have done one every month since #61 and no external drums in any of those!!

Seems many put a lot of marks on how well you can do percussion

I guess external drums would give a big advantage to those with access to professional kits!

dB

[Taron]

Here's a quick test with the new version. I had to make a new kick, reused my old snare and sax, made a new bass and used the default sound, too, haha...oh and made a new pad, too.

Anyway, just a quick test...
https://soundcloud.com/taronium/tripppl ... dd9f71ed4f

[doctorbob]

Nice doodle Mr. T
dB

[IV!]

Here's a quick test with the new version. I had to make a new kick, reused my old snare and sax, made a new bass and used the default sound, too, haha...oh and made a new pad, too.

Anyway, just a quick test...

Hi, Taron! Glad to see you here!
Oh, what is it... quick test, yes?.. Just ctrl+c/ctrl+v it 2-3 times and you will get a track for the middle of the list! I could call such a quick test an almost ready track for myself, I am amazed at your speed of work!

[Taron]

@doctorbob: Thanks Rob!

@IV! : Hahaha, man, this is just...tssss, well, Triple Cheese deserves proper attention and I'll do my best to give it at least an hour or two, hehe!
THANK YOU!

[IV!]

By the way, playing with the preset "HS Parmesan (mw)" with mw is very similar to the excitation of springs in Lord of the Springs 2 with it!)

[Taron]

Well, not too surprising, since conceptual similarities are close enough, being a continued impulse or vibration, but just in different ways. Lord of the Springs is pure spring based, fully reliant on spring dynamics and not forcing repetitions the way Triple Cheese works, I believe (Comb Filter, I think, rather than Karplus-Strong, but whatever, definitely more complicated/sophisticated than LotS). Thanks for the compare, though!

[MalToné]

Cool Synth! I'm all in, going "Full Cheese."

[briefcasemanx]

I've been wondering how people that have entries with like 30 synth instances and a ton of plugins and sounds they say are made from scratch with a bunch of audible automation are also doing their entries in "a few hours".

I've seen people people claim this a few times on tracks where it seems impossible. I have no qualms about saying that I spend more than a few hours on just the sound design aspect for drums (before even pattern programming or mixing), and days on an entire song even if it's very simple.

As someone who is slow, i'm wondering what type of workflow would make it possible for all this stuff to be done in a few hours.

[Taron]

Experience is the first aspect. At some point you have a fairly good idea what to look for. This speeds up things dramatically.
But don't forget that this is not about speed! I've spent weeks on some of my tracks in the past.

There's more to tell about all this, but I'm about to hit the hay! ...maybe I'll finally do record a video.

[3lu5iv3]

Hey mmGhost, i hope u see this message.

how do i get kick and snare sounds similar to what u used on Untethered?
i wish u could guide me in the right direction cuz i suck at sound design.

[briefcasemanx]

Delving a little deeper into this synth, it's cooler than I thought. I expect I'll be hearing some vaguely asian plucks in the final entries.

[IV!]

I've been wondering how people that have entries with like 30 synth instances and a ton of plugins and sounds they say are made from scratch with a bunch of audible automation are also doing their entries in "a few hours".

I've seen people people claim this a few times on tracks where it seems impossible. I have no qualms about saying that I spend more than a few hours on just the sound design aspect for drums (before even pattern programming or mixing), and days on an entire song even if it's very simple.

As someone who is slow, i'm wondering what type of workflow would make it possible for all this stuff to be done in a few hours.

I also belong to the "slow" participants (sometimes I spend 2-3 hours on one patch or on recording one solo), and I also analyzed this problem. That's what I think is typical for experienced participants:

1) Don't make complicated sounds. Here you need to understand that part of the sound will be formed with personal FX processing, and do not waste hours on small and inconspicuous nuances of individual patches that will be lost in the overall composition.

2) Tons of FX? Usually these are the same type of FX, like 25 instance - 25 ReaEQ, to sort the instruments into their frequency shelves, sometimes creative delay / reverb and several plugins for analysis /mastering on the master track. This is a kind of usual pattern, everyone has their own.

3) Use those FX in which you are well versed and work with them quickly, as well as which are effective in themselves. For example, the good old OTT, which works magic with drums, acting simultaneously as a compressor and an equalizer.

4) As Taron said (describing everything much more briefly ), everything comes with experience. When you program your 100th subtractive synthesizer, you can really program basic percs/basses/pads/leads in a matter of minutes and superimpose basic FX no less quickly. If you use midi seq/arp and do not complicate the melodic component at all, then you can probably save time on writing a composition. It remains only to find a common sound at the final stage.

Moral: I didn't mean to say that most OSCers are lazy! Only that with experience comes efficiency. Remember that in addition to OSC, many people are engaged in music in other fields, and even a beginner in OSC will not necessarily be a beginner in music. Well, about the experience... ,go even to that old one (2012 year!) OSC 46 (first Triple Cheese) - you will see many familiar names! That's how much experience these musicians have, and the more valuable OSC is that here you can learn from their experience and get your own!

[doctorbob]

Last time round I did a Baroque piece with a spinet and flute ... was fun! Not the greatest of tracks, but, as I said, was fun.

dB

[IV!]

The lack of a filter is a bit discouraging... Yes, I understand, damp and tone. Can we, within the framework of OSC, use some filter plugin as a filter, without high resonance, but as if it were part of a synthesizer?