Btw I’ve never seen any1 else do specific numbers like you before, i do that myself. I go fibonacci sequence. 1,2,3,5,8,13,21,34,55,89,144 etc etc. never fails 😅
It’s basically quantized values. 100/48 = 2.083333333… I see these numbers all the time. 2.08, 4.17, 6.25, 8.33, 10.42, 12.5, 14.58, 16.67, 18.75, 20.83, 22.92, 25, 27.08, 29.17, 31.25, 33.33, 35.42, 37.5, 39.58, 41.67, 43.75, 45.83, 47.92, 50, 52.08, 54.17, 56.25, 58.33, 60.42, 62.5, 64.58, 66.67, 68.75, 70.83, 72.92, 75, 77.08, 79.17, 81.25, 83.33, 85.42, 87.5, 89.58, 91.67, 93.75, 95.83, 97.92, 100. I can’t believe I have them memorized but I guess that makes sense since I’ve been using them for a decade 😂
First tyme watching you. First tyme seeing this synth. RU-vid recommendations finally made a good decision letting me see this. Made me want to purchase the synth. I love "keys" type sounds. Like rhodes and bells, 80s ballad type keys. PCM, FM, all that jazz. Would this synth be a good synth for those sounds? or are there any better options? thanks
Absolutely. Of course, Hive doesn't have a sampler, even though you could basically use the wavetable engine as a type of sampler. So, when it comes to playing back those old PCM samples, that's one way to do it, though I could never distribute those sounds for legal reasons. But it's doable. And U-he just released a new soundset for Hive called "Sugar and Spice", in their words, "Drawing inspiration from the iconic stage keyboards and synths of the 80s and 90s". They made some really pretty key patches for it. They have a nice demo of it on their YT channel.
Your patches are great! And the sonic quality of this synth is top-level. I'm very impressed with the sound indeed! I need to know more details... going to do some research.
Great plugin, with a very dense reverb tail. Could you tell me where you got your information for the Hadamard Matrix please? I can understand a visual wiring diagram, and the idea that it is a 16 way sum and difference matrix, but not all the maths formulas i am finding in searches. Your matrix has two layers for 16 inputs, whereas i am finding stuff with four layers (Fast Walsh-Hadamard transform) and (Butterfly diagrams)? Why is that please? I see you got rid of your "what scale is this" video (Barry Harris Sixth Diminished Scale)... hope you found some good information of this. There is plenty on to be had on RU-vid.
The 6th diminished scale huh? Wow, cool, okay, I'll go check that out, thanks. I took a bunch of old videos down that I felt were just clutter. I'm not an expert on Hadamard matrixes, but I have seen feedback matrixes that pile on extra mixing on top of what is necessary. A 4x4 is actually just 2 cross-coupled mid-side encoders. An 8x8 is actually just two 4x4s, and a 16x16 is two 8x8s. This means that only half the delays going into your matrix are actually being mixed together. If you go to my latest livestream, there will be a link to my Discord. I'll post some screenshots in the "DSP Stuff" thread.
It’s very possible. I’m going to spend some time with it to see if I can get some variety out of it. VA synths tend to give you samey results no matter what you do, but the new features here might open some doors.
Thank you, this is helpful and insightful information and demonstration. Your points are valid about the irises (resynthesis) taking a back seat to transformers in the GUI, but the colours and shapes modulations/shaping are the transformers (not really)... Possibly a way to see/understand it is the resynthesis is the (almost blank) page and the transformers are the writing/story on that page.
Installation locations are in the video description. Just copy and paste the ensemble in there and Pristine should show up in your user directory. You can also just click on the little arrow in the top-left and go to File/Open to manually open the ensemble from whatever file location you have it in.
The full version of Reaktor installs both Reaktor 6 and Reaktor 6 FX. Pristine will open within either of them, and you actually _can_ use Pristine on an audio track within the regular version of Reaktor, but I use it within Reaktor 6 FX just because that was its intended use case. Simply open Reaktor as an insert effect or on a send channel (being sure to turn down the dry signal like I forgot to in the video) and you should be good.
Thanks! Reaktor ensembles are normally installed in the following locations: Windows: C > Users > *Username* > Documents > Native Instruments > User Content OS X: Mac HD > Users > *Username* > Documents > Native Instruments > User Content
Sitting back, sipping a beer and watching this video beats Netflix hands down! You're very talented. Bazille is my all time favorite synth. I love the challenge, the happy accidents and the rewards it gives when I put the time in - in fact time flies, its a real joy! I have Howard's Cookbook but still need more help. I think your soundsets are more than presets - they're also a wonderful study aid too. I really appreciate the work you've put in and the fact you're sharing this with us. I think with Bazille, we have everything we need to create any and every sound we want, its just a case of the learning curve. But then again, the challenge of sound design is exciting in itself and part of the creative process. Anyway, your sounds are stunning. Thank you and take care.
@@SoundAuthor didn't notice that. everytime i opened myth so far i went directly to the init button. but in this video it worked super well with whatever you composed with it
God I love Bazzile. Its just this magical little Gem that quietly roams the synth world, putting more popular ones to shame with its sound and possibilities and says with a smile, "#NoWavetables"
Yup. I have deep appreciation and love for modular synths of all styles. My first exposure to a soft synth version was obviously Realtor Blocks, but that scared me at first. But then Reason's Complex-1 made me understand the magic, which I feel Bazille is it's polyphonic grown up sibling. But it's through Bitwig's Grid that's been helping wrap my head around the concepts. And I now own Voltage Core, and I plan on getting deeper with patching. But I shant ever buy physical euro rack stuff. Because...budget. and I'm easily addicted to things 😂😂😂
the re-synthesis is not bad. But it's not great either. Also, it's not what most of us expected, and certainly not what we collectively wanted. We're forced to be very choosey about source material. Basically, we need to do a lot of work or we need to ensure we use dull, plain, single-cycle waveforms. We wanted to be able to throw in long, evolving sounds and reinvent them.
Thank you for this! You really made the process you are going through clear and helped me understand this synth and how it can be used. So - my question is - even though the re-synth is not the focus, it still remains the first step. In light of that... 1. What is the process the re-synthesizer goes through? There are four layers in the re-synth - how? Why? 2. IRL usage, what would be the aesthetic process in choosing one sample over another? The way I've tried to use this synth so far is this - Let's say I want a "stringy" sound, so I put in a string sample. But the re-synth gives me something different than what I expected. I guess I expected a synthesized copy of the string sound that I could use as a starting point. How do you go about doing that first step - choosing a sample to get you where you want to go? Anyway, great stuff here. Thanks again!
Whew, there's a lot to unpack there. As for the DSP used for the resynthesis engine, I have no idea what's going on under the hood. The "temporal layers" that you can crossfade between with the half-moon shaped "WTF" transformer remind me of the spectral layers that are extracted from a single sample in Novum. At least, I like to think of it that way. So, you're crossfading in between clusters of harmonics that belong to a sort of timbral profile in accordance with how bright or how dark they are. As for the process of choosing samples for resynthesis, I don't recommend having a plan for that; this is not a synth I would try to conjure a desired result out of. It's pure experimentation and exploration. So, my advice would be to give yourself permission to move in a direction you might not have intended to. Myth is a very "left-field" type of synth that doesn't gel nicely with our expectations. So just let yourself fall down the rabbit hole and see what happens. 😎
find "dawsome-in-the-lab" and search for the text "I'd like to clarify a common mis-conception about the sample input - I think this will make it easier to grasp how to actually use samples in Myth." (Sheesh. Worth going through the effort!)
@@wwoodard8 What is the channel name? Never mind, I found the server link in the Myth manual. I think the discussion you are referencing is from "dawesome-in-the-lab" where Peter explains extracting the temporal evolution of the sample and gives several examples. It is very helpful.
You've made some of the most beautiful, atmospheric patches for Myth. Great work and so in tune with the name! I'm new to Myth. What I'd love to see is a breakdown of a patch or two, to see how you got there. It's so satisfying to make your own. Would that be possible if there's more requests along the same line? Take care.
Yep. Inside of each oscillator section, there are two optional "Wave" modules that provide traditional subtractive waveforms, and there are also analog modeled filters.
JUst bought it a few minutes ago and it really is a cool synth, ( Theres a sale of $125 now reg price is $179) but it is going to take some time to make my own patches love your patches that 80's patch is nice
Sounds great. Especially good for cinematic work and ambient. I'm sure the colour bass / future riddim people will like it too. Nice job on the patches and thanks for the demo!
