Babylon Synth by W.A Production

[tonedef71]

how the heck do you assign the Mod Wheel or Aftertouch to Vibrato ?

I've looked at the manual but no answer. There are MW and AT as Mod sources but no Vibrato Amount as a destination. Or LFO amount or anything that one would normally look for when trying to add MW/AT to Vibrato.

There is Delay for the Vibrato section but again there is no control with MW/AT.

Vibrato is a modulator just like LFO, Modwheel, etc, and it appears that within the modulation matrix of Babylon, one cannot wire one modulator to be the destination of another modulator. Yeah, that is a bit of a bummer with respect to sound design flexibility.

[Vertion]

Babylon is a suitable synth for you Teksonik. A revelation.

[V0RT3X]

It reminds me of synth edit quality

[Teksonik]

Vibrato is a modulator just like LFO, Modwheel, etc, and it appears that within the modulation matrix of Babylon, one cannot wire one modulator to be the destination of another modulator. Yeah, that is a bit of a bummer with respect to sound design flexibility.

Yes I see Vibrato as a modulator but there's no way to control it even with the most common MW and AT controllers.

Usually it's MW/AT to LFO Depth or something similar. In this case it would be something like MW/AT to Vibrato Amount.

Applying Vibrato when playing a Lead sound is so common that not being able to control it with MW and/or AT etc is a baffling omission in any synth.

[BONES]

It reminds me of synth edit quality

You say that like it's a bad thing but there wouldn't have been a Sylenth 1 if it wasn't for SE and our last two albums were made mostly using SE plugins.

[glokraw]

There were great sound designers creating presets and banks for synthedit plugins, with plenty of waveforms and parameters to work with. None of that has changed. All those items still exist, as do inexpensive new products, such that everyone who wants to work at
making music, has a fighting chance to at least sound great.
Cheers

[BONES]

It's a lot harder with SE now, though, especially if your host doesn't support 32 bit plugins. Too many of the best bits of SE were 3rd party modules and pretty much none of them were ported to the 64 bit version of SE, so you're stuck with the factory modules, which is a lot more limiting. David Haupt's control modules and Chris Kerry's oscillators and other audio stuff elevated SE to a whole new level and that's all gone now.

[glokraw]

Reaper is my main host, then Bitwig, neither has a problem with 32 bit. I'm not doing huge complex projects or orchestrations, just fitting sounds to imagery, thoughts, often blending both bitrate plugins, and lower bitrate samples. It's fun if not crucial to have fresh sounds and keep experimenting. Old and boring music is bad enough, but with modern plugins, making new boring music is unexcusable.

[BONES]

I bought Bitwig in the hope of not having to abandon 32 bit but, honestly, moving to Cubase and leaving 32 bit behind has been a lot easier than trying to make Bitwig work for us. In the six months I tried using it exclusively, there wasn't a single moment when I thought it was better than what we'd had (Orion), everything felt like a struggle. OTOH, our Cubase experience has been mostly brilliant. It's piano roll isn't the greatest but in most other areas it does exactly what we need in a way that's been a breeze to adapt to. For 20 years I had such a bad opinion of Cubase, based on my experience with Cubase VST 3.5 back in the 90's, that I would never have thought I'd like it but the reality is that I think Cubase 10 is awesome.

What annoys me far more is that moving to 64 bit hasn't really benefited us in any way, beyond having access to a few 64 bit only plugins. It feels like change for it's own sake.

[Tj Shredder]

For 20 years I had such a bad opinion of my Cubase, based on my experience with Cubase VST 3.5 back in the 90's, that I would never have thought I'd like it but the reality is that I think Cubase 10 is awesome.

Don’t wait that long to find out that Bitwig is awesome... You need a modular mindset for it though...

[glokraw]

I bought Bitwig in the hope of not having to abandon 32 bit...
...What annoys me far more is that moving to 64 bit hasn't really benefited us in any way, beyond having access to a few 64 bit only plugins. It feels like change for it's own sake.

In both cases, the future is out there, there will be time for new workflows, discovery and use of new innovative products, and even
rediscovery or deeper knowledge of today's favorite tools.
Might be hard to see three albums into the future, but they are on the way, one after another INCOMING!!!

[BONES]

64 bit has been around long enough no that if there was any benefit to be had, we'd be having it. But we aren't so the conclusion is there isn't. It is really that simple.

For 20 years I had such a bad opinion of Cubase, based on my experience with Cubase VST 3.5 back in the 90's, that I would never have thought I'd like it but the reality is that I think Cubase 10 is awesome.

Don’t wait that long to find out that Bitwig is awesome... You need a modular mindset for it though...

I bought a boxed copy of Bitwig in 2018, determined to give it a red-hot go, but I sold it in 2019. I found it awful, I couldn't get into it at all, at any level. Adding an extra layer of complexity through the modular stuff would just make it even worse for me. Version 3 confirmed the feeling I had that it simply wasn't being developed for the way I like to work and that adding features that would make it better for me was unlikely. And my bandmate didn't want to use it at all. OTOH, everything we discover about Cubase as we get deeper into it makes it feel more and more like the perfect environment for our work.

You have to realise that my idea of the perfect song would have one drum instrument, a bassline, a lead part and vocals, ideally with no EQ or effects on anything. Obviously, that is unattainable but every time I have to add another part to fill out an arrangement or use an effect or EQ on a part, even my voice, it is compromising on that ideal. I crave simplicity, the absolute shortest, simplest path from idea to finished piece.

There is no part of the production process I actually enjoy - I don't get any satisfaction patching synths and I don't enjoy any part of the mixing/mastering process. Having a finished song ready to play live and/or put on a CD gives me a great deal of satisfaction but a large part of that is because it comes from a lot of hard work that I do not enjoy. It's a lot like building a house or restoring an old car - the satisfaction/enjoyment comes from the end product, not from the process.

[revvy]

Edit. Wrong thread

[tonedef71]

There is no part of the production process I actually enjoy - I don't get any satisfaction patching synths and I don't enjoy any part of the mixing/mastering process.

I can mostly relate to that sentiment. However, I do enjoy the music composition aspect, though. Is composing "part of the production process", or can it be considered its own process?

Having a finished song ready to play live and/or put on a CD gives me a great deal of satisfaction but a large part of that is because it comes from a lot of hard work that I do not enjoy.

I can relate to that, too. I take much satisfaction in crafting a complete musical work.

the satisfaction/enjoyment comes from the end product, not from the process.

This statement calls to mind a popular statement that is 180 degrees from yours: "It's not the kill, but the thrill of the chase."

[BONES]

I find the composing thing very quick. A basic song will usually come together in a couple of hours. After that is another100 hours of agonising over every little thing. The thrill of the chase certainly applies to hunting, not so much to music production.