Question: How is this granular synthesis if it doesn't treat the grain as an oscillator? I know - in audio terminology "oscillator" tends to just mean "sound source", but what about actually using it as a literal oscillator - a periodic fluctuator? This seems to function just as a sampler (with some cool modulation, which good samplers also have). I want to use a single cycle waveform to create a patch. Can Absynth not do this?
I’ve become pretty obsessed with no - hit wonder obscure bands of the mid 60s, mainly North American bands who were trying to be The Rolling Stones, The Kinks, etc. Typically from small towns but of course also metros lol. Any niche of a genre has plenty of duds, but the good examples of this are really raw and wild-sounding, like, EVEN BETTER than 70s punk rock, which is where I come from, lol. Googling the subject of what a typical mom and pop studio in Burfurd, Nebraska, the types of studios these bands used, I’m curious about what tape machines, what mixers, what mics, what outboard gear etc one would typically find in the studio where Booger and The Mugwumps (fictional for effect lol) of Grudsville, TX recorded their rude and crude, rebellious 2-chord songs. This specific info is weirdly elusive. I figured if anyone knew more details re this than I seem to be able to uncover online, it would be you. Thx tons, should you bother to respond, lol. Great post. I can’t get enough of this kind of stuff; good one.
Also I think maybe you could approach physical modelling in the way of lets make something sound new not old idk imagine physics being different in a world what would it sound like?
I dont think its necessarily that we will never be satisfied with the quality, we just obviously compare it to our ear which is really high definition recording device. When we reach that point in recording where its either recorded and played out in a lot more definition by technology we (or perhaps future ai) builds or somehow we record directly what we hear (I dont know how you would do that but I dont see how that would be impossible) and until then we wont be satisfied, but my theory is that its not impossible to record and play back things in our heads, make a computer that works like us.
we barely need to know and control the variables and we can make huge things out of that, for example looking at this phone im typing this on, its this fucking intelligent but its just electricity powering on or off bits. Fucking crazy if you ask me.
Hey man ,where i can download this incredible vst dron-e now in 2024,is still possible ,please help me,thanks sooooo much,i need it.from Treviso Italy Cattarin Luciano
So, are saturation and excitation the same? I have my eyes on an exciter plugin , but I don't want to waste my money on it if I can accomplish the same thing with a saturator plugin. I have a few saturator plugins already.
I cringe when i see people having sidechain conpressing at 100% the quickist way to destroy your good dynamics plus you can hear, it.... 83%wet is my go to then id adjust depending on which compressor im using, Molot is about 93% l, Molot is very good and is supposed to a bus/mastering compressor snd you want the colour, cleaner glue compressors are horrible at 100%, you can litterary hear when it compresses and cos there is not saturation your losing too much of tour dynamics and saturation adds dynamics! Songs with little dynamics sound crap and powerless. Dynamics= snap crackle and pop which gives your tracks so much more punch and power, stop making lound songs and start making great sounding tracks.
I knew how I came across this video. We have to clarify what kind: classical (church/cathedral), or theater (the precursor to the electric/electronic ones). In this case...the video's title speaks for itself. Additive synthesis = electric organ. The same nastiness is behind the sound, but the sound is buried in effects. Only the in its original form, were electric organs able to achieve (traditional) sounds. The rotary speaker ruined everything, when it was introduced in 1941. You went from Toccatas to "O Sole A Mio" or "Oh Happy Day."
Usually, a decent sampler will have a zero point function so that you don't have to annoyingly zoom and and find it. For example, Cubase's sampler track, you can enable the zero point crossing button, which makes it so easy to create loop points. I was thinking about buying this VST, but not sure now.
Hello I have an Alyssa's special edition. And while playing at any given time, the whole drum set has a volume spike to the point. We have to rip out our In ear monitors because it's ballistic very frustrating, but also very damaging to the ear. I hope you can help me with this is it And internal problem with the module. Have you ever heard of this? And what can you do help?
Thabk you so much for this comprehensive summary. I found it very useful for an essay I'm writing about the history of mixing consoles. You've got a new subscriber
The LP and the 45 were designed to replace 78s. The 45, developed by RCA, could be sold either individually or as part of a multidisk set in a binder, called an album (just like 78s). However the 45 was smaller and more rugged than a 78. One new feature of the 45, facilitated by the large center hole, was the automatic disk changer, which allowed you to stack several 45s on the player so that they would play without intervention. RCA said "now you can listen to an entire album of 45s in whatever order you prefer." Meanwhile, Columbia's replacement for 78s was the LP. With the LP, you could get an entire album on one disk. Not to be outdone by RCA, Columbia made an automatic LP changer which had a clamping arm to keep the stack of small-center-hole-disks stacked on the changer spindle.. Before long the familiar marketing of using 45s for single releases and LPs for album releases emerged, at which point both manufacturers started producing both 45s and LPs.
Jack Mullen brought Magnetophon recorders and reels of tape back from Germany with the intent of interesting an American company to commercialize the technology. He found a company in Redwood City, run by a Russian immigrant, who was in the business of building fractional horsepower electric motors. However, they needed money, which is where Bing Crosby came in. He commissioned the first Ampex tape machines. He took one to his friend Les Paul, who ended up ordering more Ampex machines. Ampex was not the only company interested in tape, there were Magnecord and Crown.
What about saving this as one new instrument, so you dont' have to go through this process over and over each time you want to mix 2 instruments. Is there a way to save it as a combined new instrument?
one thing to add is to experimenting with EQ on the parallel return, especially cutting off some of the mids to prevent a boxy effect, so that you can add enough to make an impact
I think the pre-delay works normally in oldskoolverb, and he means that if the predelay is very short, since the early reflections are very similar to the source sound, they will be more prominent by being layered on top of it.
