Your favorite sound designer?

[beltrom]

There's several. One that I don't think has been mentioned yet is Nori Ubukata. I have an easy time finding what I want in his banks.

The mentioning of Nolwenn (who also was/is great) triggered Tim Conrardy in my memory, always really enjoyed his work as well.

[Teksonik]

triggered Tim Conrardy in my memory, always really enjoyed his work as well.

Indeed Tim slipped my mind. I had the honor of working with him on some patch collaboration projects. He actually went to University to learn synthesis. I can't believe it's been almost 13 years since he passed away.

He was one of the early giants in the world of VSTi patch programming.

Another I forgot was TOTC (Frank Genus) who was a brilliant sound designer but sadly left the business to pursue a career in Law.

[AnX]

Sound design is the equivalent of creating new instruments.

No it's f**king not and it is absolutely ridiculous that you'd think it was. Go and try to make your own instrument if you doubt me. Spend a month or two with SynthEdit and see what you come up with.

This took me about 3 hours in Hive.
This instrument cannot be heard in the real world, with any real world instrument.
This synthesizer sound cannot even be heard on another synthesizer, because it is unique to this synthesizer, and its exact settings, previous to it being created.
The plucked sound is only one aspect, that may be similar to a real world instrument, but that instrument would not be able to reproduce the velocity settings influencing tonal changes, and neither be able to replicate the modulation controls influence on the sound, which is a backwards recording effect. It's a unique instrument, and your assumption is refuted.
https://app.box.com/s/836jrn7oz6lpj0hbt3i8r9rsdwhfhc6w

So you made a fairly basic sound that changes with modulations, not a unique instrument. Uhe made that.

[beltrom]

Another I forgot was TOTC (Frank Genus) who was a brilliant sound designer but sadly left the business to pursue a career in Law.

Agreed!

Had (have) his banks for Dash PS1 and daHornet.
Wasn't PS1 prosound by the way? Even if powered by Dash.

Nostalgia!

[RexBanner]

Echo Sound Works

[Teksonik]

Another I forgot was TOTC (Frank Genus) who was a brilliant sound designer but sadly left the business to pursue a career in Law.

Agreed!
Had (have) his banks for Dash PS1 and daHornet.
Wasn't PS1 prosound by the way? Even if powered by Dash.
Nostalgia!

Wow I forgot all about the PS1. It was a pretty cool synth, shame it was abandoned.

https://www.kvraudio.com/product/ps-1-by-prosounds

Yes Pro Sounds which was owned and run by Frank Genus.

My memory may have failed me but I seem to remember DASH was a collaboration in the early days between WilliamK of Wusik and Liqih of NuSofting.

Nostalgia indeed.

[VELLTONE MUSIC]

I am constantly in between pleasure and pain when it comes to user's taste and opinion about presets,sound design,best stuff so on....
Most amazing of all to me is how most people adore huge reverb and a lot of delay and every time this is the best sound ever made and heard...
Every time....
Not even a clue that what's covered beneath all these fx should be heard first,then analyzed,then modified so to be properly used and shine in it's sweet spot... people just want ready for mix presets,but their mix isn't ready for the presets :):)
Especially EDM lovers are so funny - no detuned supersaw,mega compression and huge reverb - you don't understand modern music and your music ideas sucks :):)
Don't wanna be the asshl who open the door,but no such thing as super designer,some do style oriented stuff well,other experiment and develop original sound,others just have fun:)
Better use 10 designers ideas,mojo,character,dynamics than just one - same with synths,fx,techniques and styles.
Music is fantasy and only limitation is your imagination
Cheers

[BONES]

This took me about 3 hours in Hive. This instrument cannot be heard in the real world, with any real world instrument. This synthesizer sound cannot even be heard on another synthesizer, because it is unique to this synthesizer, and its exact settings, previous to it being created.

Sounds like a waste of three hours to me because I could come up with 20 patches that would do the same job in a mix, which is what the f**king this is for.

The plucked sound is only one aspect, that may be similar to a real world instrument, but that instrument would not be able to reproduce the velocity settings influencing tonal changes, and neither be able to replicate the modulation controls influence on the sound, which is a backwards recording effect. It's a unique instrument, and your assumption is refuted.

Who f**king cares if it's unique? I can make 100 patches an hour that are unique but it's a waste of time if I can never find a use for them in a song. And that's the point - there is no single right solution for any synth sound in any song. There are always a dozen instruments that will do the job equally well, and probably a dozen different ways you can patch each of them to do it.

For the record, yours is an interesting patch but hardly worth spending several hours on because all the subtlety will be lost in a mix. You want to believe that spending all that time on one patch is a worthwhile endeavour but it's not. It's just not because a patch is not an end in itself, it is simply one relatively unimportant step in a much larger process. Think about it; it's very common to hear some really nice/interesting sounds in otherwise terrible music, just as it's common to hear fairly run-of-the-mill sounds in really good music, but which of those two things are you going to listen to over and over again? It will always be the good song with bad sounds, not the bad song with good sounds.

[cryophonik]

Can’t say that I keep up with the newer guys creating/selling banks for soft synths, so I can’t name a fav, but there are a lot of talented guys doing it, no doubt. My favorite sound designers are mostly the guys who pioneered synth-based musical styles decades ago, like Rhys Fulber, Alan Wilder, Thomas Dolby, etc etc etc…

[Dirtgrain]

You want to believe that spending all that time on one patch is a worthwhile endeavour but it's not. It's just not because a patch is not an end in itself, it is simply one relatively unimportant step in a much larger process.

From what you write, it seems that you are not familiar with electronic music. There are so many songs that have unique sound design as a distinguishing feature.

[mcnoone]

_ but which of those two things are you going to listen to over and over again? It will always be the good song with bad sounds, not the bad song with good sounds.

Good songs with good sounds.
Designing sounds for synthesizers is a learned skill. One who practices that skill, improves at it. It requires abilities that not all people can excel at. It is a creative art form. I will never belittle those who pursue doing it and achieving what they want to do. I believe that is exactly what you are doing, and it is wrong to do so.

[BONES]

Absolute rubbish. It's a learned skill like operating a supermarket cash-register - it's not hard, requires minimal effort to do well and is something that once learned will always be there when you need it. Or maybe I am just so much more talented than you that it only seems to be that easy to me? Which do you think is more likely?

And the only thing I am belittling is the skill itself, not those who pursue it. If some people choose to see it as a personal slight, that's on them.

From what you write, it seems that you are not familiar with electronic music. There are so many songs that have unique sound design as a distinguishing feature.

Right, I've only been playing synthesisers since 1981, I couldn't possibly know anything about electronic music. But I really can't think of a song I like because of the synth sounds that the artist has used. Sometimes I'll notice some really good/interesting patch programming but it's never something that will elevate an ordinary song. Like I said, a good song with ordinary synth sounds will stand the test of time way better than an ordinary song with good sounds. It's just one of several aspects of music production and rarely one of the important things (beyond a certain point, obviously). That's why so many people are happy to let someone else do it for them.

[Dirtgrain]

Absolute rubbish. It's a learned skill like operating a supermarket cash-register - it's not hard, requires minimal effort to do well and is something that once learned will always be there when you need it. Or maybe I am just so much more talented than you that it only seems to be that easy to me? Which do you think is more likely?

And the only thing I am belittling is the skill itself, not those who pursue it. If some people choose to see it as a personal slight, that's on them.

You are spouting absolute rubbish, man. It's not just a skill--it requires an ear, a knack, a talent for being able to identify sounds created that will make a song, define it. There are signature sounds in a lot of successful electronic music. You may not make the type of music where discerning differences in sounds is relevant. I only recall you referencing obscure, off-key Australian punk bands and also '80s music in the past.

From what you write, it seems that you are not familiar with electronic music. There are so many songs that have unique sound design as a distinguishing feature.

Right, I've only been playing synthesisers since 1981, I couldn't possibly know anything about electronic music. But I really can't think of a song I like because of the synth sounds that the artist has used. Sometimes I'll notice some really good/interesting patch programming but it's never something that will elevate an ordinary song. Like I said, a good song with ordinary synth sounds will stand the test of time way better than an ordinary song with good sounds. It's just one of several aspects of music production and rarely one of the important things (beyond a certain point, obviously). That's why so many people are happy to let someone else do it for them.

I was aware of your history with synthesizers, as you have posted much about it in the past--that is different than being aware of what is going on in the world of electronic music.

[BONES]

It's not just a skill--it requires an ear, a knack, a talent for being able to identify sounds created that will make a song, define it.

People with those talents might be better at it but any idiot with basic knowledge of how a synth works can do it to an acceptable, useful standard. i.e. A standard which would make their work interchangeable with that of someone with more natural talent, in the context of a mix.

There are signature sounds in a lot of successful electronic music.

Mostly artificially and arbitrarily imposed.

You may not make the type of music where discerning differences in sounds is relevant.

That type of music doesn't actually exist in any meaningful way, which is to say that it could be applied to any music. What's relevant about sounds is that they work in a mix, that they do the job you need them to do. And in a mix, more often than not it's the simple sounds that do the job best.

I was aware of your history with synthesizers, as you have posted much about it in the past--that is different than being aware of what is going on in the world of electronic music.

All the music I have ever made is electronic music because it has always been made with electronic instruments (and voice). To be fair, very little of the music I listen to these days would qualify but it still provides plenty of inspiration for what we do.

[mcnoone]

Or maybe I am just so much more talented than you that it only seems to be that easy to me? Which do you think is more likely?

I do admit that your talent for humor is much greater than mine, as your statement is nothing but a joke, with my reply as the punchline.
Your kind of humor is interesting to read, and may take more skill to accomplish than a cashier job.