Synth Use Frequency / Concurence

[Ingonator]

Even after selling a bunch of softsynths last year i found i still have way too many softsynths i almost never use or which are mostly replaced by newer synths now. This means i'll have to make another "clearout" of my synths this year.
The selection will also depend on the fact if i ever programmed any sounds with a specific synth or if i only used the presets. Even if i got a bunch of soundsets for several synths i found myself to prefer using my own presets.
A difference are soundsets for e.g. NI FM8 as so far i'm not really good with programming pure FM synths (which will hopefully change and i already have a few own results).

To be honest i have only used Kontakt 4 and FM8 from Komplete 6 most of the time and Massive, Absynth, Reaktor only very few to almost never (which was different when i got the package). Maybe i'll rediscover those other synths in the future but at the mont i don't really need them.

Besides all that i prefer also having a small amount of hardware synths.
In fact if i am really honest those 4 hardware synths (Motif ES 7 with 512 MB RAM, Wavestation EX ith RAM card, Blofeld desktop with SL expansion, Moog Slim Phatty) would be more than enough for doing music but that's another story.


Ingo

[_leras]

To OP : If I were you I might be tempted to try to reverse the predicat :

Instead of saying I'm going to make a track with this and that synth, just make the track you have in mind, and for each instrument, try to find the synth that will serve you best : Some instruments that can be made with kontakt cant be made with FM8 or with Synthix. Reverse is also true.

Each synth has its own identity, knowing them will help you to decide wich one is the right for each instrument.

In case it helps,

LtZ

I think this only holds true if you are an 'expert' at programming all your synths, or you are just a preset junkie.

There is A LOT to be said for learning a synth in real detail. In my opinion this is why a synth interface is so important. The easier a synth is to program the more quickly you can get deeper with it.

Some synths are just so hard to program it feels like constantly banging your head against a brick wall, eh LtZ?

[_leras]

BTW, I tend to use only those synths, which interface I understand within 15-30 minutes. If it takes longer (U-he Zebra, Massive, etc.), I just skip it.

I understand exactly what you mean and reach for 'monosynth' type synths quite often where I know I can coax the exact sound I want quite quickly...

However, actually spend just an hour with Massive (when you're not in the mood to write a track) and go through it's modulation assignment, macros, lfo's and step sequencers - and after that it will be an interface you'll find easy to work with.

[Lotuzia]

To OP : If I were you I might be tempted to try to reverse the predicat :

Instead of saying I'm going to make a track with this and that synth, just make the track you have in mind, and for each instrument, try to find the synth that will serve you best : Some instruments that can be made with kontakt cant be made with FM8 or with Synthix. Reverse is also true.

Each synth has its own identity, knowing them will help you to decide wich one is the right for each instrument.

In case it helps,

LtZ

I think this only holds true if you are an 'expert' at programming all your synths, or you are just a preset junkie.

There is A LOT to be said for learning a synth in real detail. In my opinion this is why a synth interface is so important. The easier a synth is to program the more quickly you can get deeper with it.

Some synths are just so hard to program it feels like constantly banging your head against a brick wall, eh LtZ?

Yes and no.

Yes because possibilities and power come at a price, wich is always a certain complexity. If you refer ( again ) to the Synthix, an 8 layer polytimbral synth with a single panel where you can make huge stacks might eventually be seen as very powerfull. Now the fact that, when you're in advanced edit mode, to edit all layers simultaneously, you have to make ONE click under the layer bar to make all layers simultaneously editable can be seen as difficult, or less difficult. I'd say that mastering an instrument like Kontakt is much more difficult, and much less intuitive, not even counting that you might want to write your own scripts, or edit some. To master Kontakt, Mach V 3.0, or Reaktor, can take you months, or years. Or eventually you can conclude you'll never master it completely, and that there will always be something to discover, invent, have fun with. ( this is my case )

So a lot of people dont have the will nor desire to program their synths, they prefer to play, compose, have simple fun, this is perfectly understandable. Programming simple synths is not for everybody. Programming complex synths is even less for everybody, and pushed to the extreme (because there are several levels in programming, from just adapting presets to context to create more or less complex and polished instruments ), it can also be a job. To each his own.

This is not a problem however, some vey simple and more, or less, intuitive synths do exist for those who both dont want to rely on presets, AND dont want to dive into advanced sound design ( Vast majority of people in Kontakt only use presets btw ), and we're going to add one on this pile soon.

Yes and no, because in production environments almost all composers dont bother with programming their own instruments. They use presets, adapt them if they can or need/will, or just hire people to take care of that.

And no because if you're not satisfied with the way your tracks sound, and can't hire someone to take care of this for you, the only way is to learn your instruments by yourself, either by deciphering their character, and/or going deeper and master them more or less, and even if it takes you some time, in the end there's just no other way to go, ( BUT it will be rewarding ).

So that you dont need to be a synth expert to decide wich instrument to use for each part, you just have to practise a lot, listen and play the diferent synths/instruments/presets you have , sometimes pause a bit to think a bit and organise all that you've learned during these sessions, and after a while, the light will show ...... gradually.

To the OP : I'd also suggest that you practise a lot playing presets in different styles : You want to fake a brass section, then play/think like a brass section, even if you play a totally ananlog brass stab patch. Fake a Clavinet, Organ, bass etc etc : Play them like if you were a guitar player, organ player etc etc. ( Example : Organ player take much more care of note off than piano players, and dont care for velocity for example, but they will take care to the tonewheels, leslie, etc )

LtZ

[Madrayken]

If you find ditching the presets to be intimidating then you could use that to focus on a particular synth for a bit.
Concentrate on a synth whose interface and workflow best suits yours, even when 'wiped'. I personally find most presets 'a bit much' - going back to nothing often gives me exactly what I need and no more... which means less mixing.