Synth overload?

[Sawtooth Fairy]

you can use samples for real sounds

Sure, but when I look at the Xpand rompler for instance, the electric bass presets are very weak, the guitars as well, no typical Strat sound. I know there are huge sample libraries for every instrument, but I don't want that, nor can I afford that. Nor could my computer handle all those GB

[HAL76]

Considering that synths are pretty much like women I´d recommend to immediately marry one to die with.

But be careful - you´ll maybe never really understand it and always feel a certain desire [...].

[liquidsound]

Considering that synths are pretty much like women I´d recommend to immediately marry one to die with.

But be careful - you´ll maybe never really understand it and always feel a certain desire [...].

Careful? Marriage IS the major cause of divorces!

[BONES]

You are asking the question like if I was trying to convince you . I am not at all. Do what you want.

That's f**king useless. I want info, I want to learn before I make a decision. Isn't that the whole f**king point of this place?

First you need to understand (or have in interrest) in polyphonic modulations.
If you have, modulations can become very complex. Having to reprogram them each time can be a shore. Omnisphere for example allows to change presets without changing the modulation setup. That's very handy because you can circulate timbre and sounds without changing the dynamic of this same sound.

CLAP allows to do that on steroid. In particular, in my use case (and I insist, it is my use case and feel free to not give a shit about it), it allows to use the polyphonic modulations of Bitwig in any CLAP synths. Without CLAP, if you don't like the modulation options of your synth, you are f**ked, you can only change synth. With CLAP, if you are comfortable with the modulators of your DAW, you can apply them to any external synth, polyphonically...

All off this is "what", none of it is "why". How do all these complex modulations help you write and produce better music? To me it still seems like the answer to a question nobody asked. e.g. You only have to watch a video of someone playing a Jimi Hendrix guitar piece to understand what makes a Roli Seaboard worth having but, by the same token, I am yet to see any video that convinces me that MPE has any practical uses that can't be realised in other ways.

Without CLAP, if you don't like the modulation options of your synth, you are f**ked, you can only change synth. With CLAP, if you are comfortable with the modulators of your DAW, you can apply them to any external synth, polyphonically...

A good draft for an addition to the BW manual

And a perfect illustration of why I was never down with Bitwig and got rid of it after 6 months.

There were times when there were no synths at all. And with many genres you still don't need any. Just saying... I guess I only use any synths because I can't play the real instruments, and because I enjoy programming sounds, but I would definitely prefer a real string sound to a synth one. Or a real Music Man bass to a synth bass.

I play synths so I don't need to deal with a f**king band, I can do it all myself.

[martiu]

You are a good man BONES

[BONES]

Sure, but when I look at the Xpand rompler for instance, the electric bass presets are very weak, the guitars as well, no typical Strat sound. I know there are huge sample libraries for every instrument, but I don't want that, nor can I afford that. Nor could my computer handle all those GB

Have you tried any of Ujam's guitars and basses? They are f**king awesome!! This is all from a handful of plugins I paid $69 each for.

https://soundcloud.com/user-365521/blitzkieg-bop-wip

[Jac459]

I am yet to see any video that convinces me that MPE has any practical uses that can't be realised in other ways.

Well, first, I think you got confused between when you started your sentence and when you finished it, lol, we are not talking about MPE but CLAP. From your understanding of music production it may be the same but it is not.
Second, I tried to say it politely but to be more direct, I couldn't give less a f....k about your understanding of CLAP, voice stacking or polyphonic modulations. Those who are interested already understood what I was saying.

Finally, I am puzzled by the stupidity of trying to say that you need a synthesis technology of 2020 to reproduce songs from the 60s (Hendrix)... What a poor logic, even by your standards....

[Jac459]

You are a good man BONES

Careful, when you say it, he believes it .

[BONES]

Well, first, I think you got confused between when you started your sentence and when you finished it, lol, we are not talking about MPE but CLAP.

Hence my use of "e.g." to illustrate my point with something analagous.

Second, I tried to say it politely but to be more direct, I couldn't give less a f....k about your understanding of CLAP, voice stacking or polyphonic modulations. Those who are interested already understood what I was saying.

I understood every word, it's not like it's a difficult concept. It's just that I can't see the "why" of it, the use cases where it might aid or improve music production.

Finally, I am puzzled by the stupidity of trying to say that you need a synthesis technology of 2020 to reproduce songs from the 60s (Hendrix)... What a poor logic, even by your standards...

I'm sure you're not nearly as stupid as this makes you sound but I'm afraid this makes you sound unbelievably stupid. Either that or completely ignorant of anything at all to do with performance (which might explain your inability to understand what I am trying to ask you).

[rod_zero]

Captura de pantalla 2023-05-10 212143.png

[N 4 LIFE]

Thread is effing hilarious....

[Jac459]

Finally, I am puzzled by the stupidity of trying to say that you need a synthesis technology of 2020 to reproduce songs from the 60s (Hendrix)... What a poor logic, even by your standards...

I'm sure you're not nearly as stupid as this makes you sound but I'm afraid this makes you sound unbelievably stupid. Either that or completely ignorant of anything at all to do with performance (which might explain your inability to understand what I am trying to ask you).

So you are saying my argument is stupid because I am saying yours is stupid... that's fresh coming from a grown man....

I still have one question though, do you plan to go in every discussion about things you don't understand?
You don't have thermal issues with PC so you are flaming people who have, you are not using mpe so you are flaming people who do. You have no use for polyphonic modulations so you are flaming people who do.
Don't you have something better to do?

[Super Piano Hater 64]

I can't think of a scenario where polyphonic modulation is strictly necessary, but it's easy to come up with situations where it's a huge convenience. Suppose you're editing a polyphonic part and you want to stick a legato slide in the middle. If you have polyphonic modulation, you can just do that. If not, you can break that part up into multiple tracks, one per voice, and individually make them legato as necessary... But then you have to manually sync up any other changes you make to the patches for each voice. That's tedious, error-prone, and absolutely still doable, limited only by your own time and patience. You don't open up new possibilities for better music. You only make the process more convenient for yourself.

Non-linear editing is also such a convenience. You don't need it. You can make music in layers using a loop pedal. It's just much more tedious, especially if you make a mistake.

[BONES]

The thing is, why would I want to slide one note and not the others? It's not something that seems worth worrying about, which is kind of my point. As I said, I've watched a lot of MPE videos and never seen anyone do anything I couldn't do without MPE.

So you are saying my argument is stupid because I am saying yours is stupid...

No, I'm saying your argument fails to address the question I asked. What makes you look stupid is not understanding how someone performing a well-known guitar part on a keyboard, with all the same subtlety and nuance, might be life changing.

I still have one question though, do you plan to go in every discussion about things you don't understand?

Absolutely. You may be happy to wallow in ignorance, I am not.

You don't have thermal issues with PC so you are flaming people who have

Well, if I don't, then nobody should. I'm just trying to be helpful in pointing out that you don't have to put up with that shit unless you choose to.

you are not using mpe so you are flaming people who do.

On the contrary, I have 8 MPE controllers - 6 Lightpad Blocks, a Seaboard and an Erae Touch - and I use them every day.

You have no use for polyphonic modulations so you are flaming people who do.

I don't know if I have any use for polyphonic modulation, which is why I am asking people who do how they use them.

[Jac459]

I can't think of a scenario where polyphonic modulation is strictly necessary, but it's easy to come up with situations where it's a huge convenience. Suppose you're editing a polyphonic part and you want to stick a legato slide in the middle. If you have polyphonic modulation, you can just do that. If not, you can break that part up into multiple tracks, one per voice, and individually make them legato as necessary... But then you have to manually sync up any other changes you make to the patches for each voice. That's tedious, error-prone, and absolutely still doable, limited only by your own time and patience. You don't open up new possibilities for better music. You only make the process more convenient for yourself.

Non-linear editing is also such a convenience. You don't need it. You can make music in layers using a loop pedal. It's just much more tedious, especially if you make a mistake.

Well, if the process is tedious, you can't explore stuffs, so it is blocking your inspiration.
Another example is when you play a chord with an lfo modulating say the filter. If you have a monophonic lfo the whole chord will behave the same way. If you have a polyphonic lfo, the up and down of the filter will come at different times alternating highlight on part of your chord . I find the effect splendid (and used in many recent productions).
Then if you go one step further, you want this lfo to have its rate changed depending of the adsr (again very common splendid effect, the lfo starts very fast and slowdown progressively). If you play your chord as a strum, you NEED polyphonic ADSR also....

So yes, you can do that by playing with midi channel. But finding the right speed for the lfos and adsr will be extremely complex 8f even possible....

I am sometimes spending 10 minutes to adjust these kind of modulations. That's why I want it to be practical, and keeping the modulations as a preset is a big cherry on the cake.