Shaper sound is about making your own music, the quest for finding your sound. This channel is about music gear, music production, sound design, home studio, synthesizers and guitars.
Great video! Actually when playing the sound engine, the Osmose does not use Midi Velocity (the external Midi modes do). This is MPE. It only uses channel pressure, but it uses shape generators to give you different touch envelopes - like tap fast and you get a plucked sound and press slow and you can get another legato sound. So while it is velocity sensitive (it can even sense changes in velocity) this is not Midi Velocity. And it does sense both release and derivative (change in speed) change motion as noted here. Yes - with MPE Ext (external) Mode you need to map channels 2-N to your target. If your OB only accepts 6 MPE channels and you set Osmose to output on >6 MPE channels, you will get a note drop out when Osmose play channels over 6. Note Osmose always outputs using MPE Same priority on the external MPE port. That means it will always output the same note on the same channel until you play more notes than MPE channels and then it will remap notes to channels.
@@eaganmatrixprogramming nice having you in this humble channel! I’ve noticed that it reacts to release, but does it send it as an event via MPE (like “note on” in regular MIDI) or we can only take advantage of it in Eaganmatrix? I could imagine that changes in velocity would be related to pressure instead of regular press velocity, but is great to have your confirmation on it! However are these changes in velocity possible to be used via MPE output, or only at Eagan sound Engine? Thanks for your comments
@@ShaperSoundChannel HI! I admit this can be very confusing for someone just starting out. When setting External Midi, even for MPE, velocity is output (though might not be used by your MPE target). Note with USB there are two virtual ports (port 1 which is for external modes and port2 which is for the internal sound engine). Port 2 will always output velocity=127 unless changed in the editor - so best to always use external midi port1 or DIN set 1/3 when playing any external MPE device (and for non MPE targets you can use standard "Classic Keyboard" ext mode). Yes sensing of release is all internal. The Osmose sound engine is the same as on Continuum - and uses the same editor (though preset programming is a bit different). All pressure related control is only using channel pressure for the internal sound engine and that is all that is output. The fast attacks and attack effects you can get are all internally generated. The only thing Osmose will output from the sound engine is Midi NoteOn/NoteOff, Pitch Bend (X) to get your pitch offsets, channel pressure (Z), and Aftertouch (CC74/Y). Then there will be some CCs you will see that are used for MPE+ (like CC87) that allows for 21 bit X resolution, and 14 bit Y and Z resolution. This is all for the sound engine. You might join the Facebook Osmose Users group where lots of interesting things are discussed (if you have not already - where this was posted).
@@eaganmatrixprogramming these tips are gold, I’m currently working on new content using Osmose as controller and want to invest time on the Eagan matrix, but still wasn’t able to connect to the editor (haven’t had much time to troubleshoot). I’ll have a look and join on FB. Cheers!
@@GillamtheGreatest ah brother it is a special one I must say! But I was thinking about you while doing the video. You have a theremin, don’t you? I am planning to make the next video exploring MPE in Hydra, using MPE continuous coordinates for modulation. Don’t you think we could adapt the same patch to work with theremin as a midi controller? Would you be up for a collab video?
@@ShaperSoundChannel yup i got the claravox model by moog. im down to collab. you want me to email the address linked to the channel so we can swap discord IDs or something like that?
Is it possible to generate an acoustic type of piano sound? I am uncertain that it is possible, but I think not. Which means, in order to play normal piano with it you would have to send it through midi to your DAW? My only problem with that is the delay, which I am not sure will be worse from all the additional data being sent?
@@rproctor83 in theory the piano is a metallic string that is hit by the felt hammer, so it should be perfect to synthesize piano and e-piano. But if it was easy I think Haken Audio would have done it in it’s native patches. There was some e-piano there but I’m not impressed by it. I really want to deep dive onto its editor and I’ll probably make a video about it. But If you are thinking DAW, it depends on if you use a sample based library or a modeled one. I think samples will not have many benefits from MPE, and for a piano experience I must say velocity alone is good enough. But I know people are using Osmose with physical modeled string libs and they work perfectly from the DAW. It all depends on your cpu and ram, but the extra data should not add substantially to latency.
No. You cannot get a realistic piano sound like you can from a sample library. The sound engine was not intended for that. But you soon will be able to import a small "sample" that you can manipulate as an additive synthesis model. That will greatly expand the sound generation possibilities. This upcoming feature was actually used in the latest Dune movie. But then the Osmose has 4 external midi modes that let you play any sample library you can think of. It's an amazing instrument!
I just made this patch on the Deluxe and it sounds pretty great! will probably make a few tweaks but this was very helpful as there are few videos on how to make string sounds on the Hydra. Thank you!
@@Samwisedragon I’m glad to hear it was helpful. Share with us your improvements later so we all can learn from each other. I’m working on a video for a new synth for the studio that will open up new possibilities with Hydra and I might revisit the strings patch as well. Cheers
@@Salinxs_ thanks for the incentive, I haven’t had much time lately to dedicate to the videos. I new synth have arrived yesterday and I’ll make a video about it, but in my studio context it has to do with Hydra and I’ll make a patch on it. So stay tuned and thanks, sometimes I need a little push.
As far as I know it is about improvement in its components and circuits, it was not about changing functionality. Neon Egg is a one man band so the pedal version was more of an engineering necessity than a marketing one.
Wasn’t it made on a devilfish I’m pretty sure it was….hence the td3mo uli loves daftpunk that’s why he is remaking all their old synths ms5 td3mo td909 model d ubxa are all old daft punk synths the 303 sounds so off
If I remember correctly Neon Egg mentions an Integrated circuit ship that is being pushed to its limits creating saturation on feedback so DPS. But I need to check the manuals again.
Now giving it a second thought… it is not because you use IC that it is digital, you would need a microprocessor to run software to be digital. Therefore I know that delay , at least, is analog. But not sure about compression and chorus…
I’ve used the Model D cause it is a simple subtractive setup. What you need is only 2 oscillators, an envelope that can control your LP and a HP or BP filters. You can for sure reproduce it in Hydra too. PS I have a video on how to make the way in Hydra, I will paste the link below. Let me know which you choose and how it went.
Hi, just found your channel, it popped up in my feed, I'm so glad the algorithm did direct me to you. Anyway, what a really cool approach to sound design, using Synplant to generate the info from the sample, I wasn't even aware you could do this with the VST. So thank you for the really cool insight. 😉
Glad you’ve found the channel and took the time to leave a message. The algorithm is not always in favor of the small channels unless you post every week 😣. Yes some VSTs have some hidden pearls. I also thought this would be cool to share but your comments are my real way to know, so thanks for sharing.
Was about to swipe away w the mention of AI. But I see it’s more of a decoder/analyzer instead of a lazy way to sidestep creativity. This is exactly a positive example how AI can help aid talented people rather than replace them. 🤘😎
I know what you mean. AI can be an overstatement sometimes, machine learning is what these are. Meaning, the software is really good in recognizing patterns but don’t know what these patterns means . So a human has to classify these patterns, and what I want is to learn from these humans that have “thought” the machine 🤓. Thanks for the comment
🤔Hum, good call I am transposed, but is it E though? Which scale? I am playing (to my years) a full step down, but the recording is not tuned to a normal A 440Hz cause it does not match a tuned piano. Closest I could get on a tuned piano was D harmonic minor scale with Bb and C#. Some quick Google search says the song is in A flat minor with the tune dropped down to D…. Let me know what you think.
really interesting take on this. i can see why synplant had its take too. that little bit of extra attack on the off notes is pretty accurate too. i went and slowed the song down to 25% and i could really see it being either a guitar or a synth sequence so its super hard to say what the original was but this was a pretty clever way to get the same sound
Have you seen the James Bond theme video? It sounds really plausible as well. I was also looking into Daft Punk but they also sample a lot so I was intimidated to try sound design. But I thought at least it was an interesting workflow to make a video about. Cheers
@@ShaperSoundChannel yup watched that one and had already seen the other one you linked like 2 days before you released this video. i dunno if they used the samples from james bond or not but i tried playing both breath and the bond theme on the guitar, and my guess is whether they sampled the bond them or played in their own version on a guitar or a synth in the final recording, the idea probably came from someone noodling around with the bond theme on the guitar. daft punk definitly does that sorta "is it a sample or not" type of thing too, but dont be intimidated. everything is an oscillator if you are brave enough.
@@GillamtheGreatestgood call, daft punk is definitely on my list to explore, hehehe. Yes I agree with you, these artists can recreate, have good post and can chop it all over again. And we can synthesize which ever sounds we want because it’s fun! Cheers
Thanks for sharing your impressions! AI has been a useful learning tool for me in sound design, mixing and mastering. I am not always able to use its output directly as a final result, but it puts you already in a nice starting point. So why not to continue from there in any other platform you know well? Happy to share!
i like the new little pause sections with the settings. will try to match the patch this weekend. i actually just had to repair/replace a bunch of stuff in my setup, so this is good motivation for me to hrry up and finish
Hi @GilliamtheGreatest tanks for the feedback. I am looking to improve the format so I use the vide time to say what is important, and make it easier for you on reproducing the patches. Thus your feedback is important for me. There is another video in the oven, coming up in a few weeks. Let me know how it went on your patch. Cheers
I just acquired a Hydrasynth, and loving it! I have learned so much about the myth from your videos. I especially like this one dedicated to Pink Floyd.
Hydra is like a dream scenario for sound design in a hardware form. What is normally a limitation in other platforms such as envelopes and modulation is available in abundance in Hydrasynth. This is why I use it a lot in my videos, it’s almost like cheating. Enjoy your Hydra, new synth days are the best!
Great job, very thoroughly explained and cleverly accomplished BUT I still find the end result to be brighter than the original sound and with more reverb than the original recording. Of course we can adjust those things, so it's of minor significance. The important thing is that you explained it for us, whereas other people would say nothing and just sell it online.. Thanks for that.
Awesome, great idea and great realization. And so inspiring… …I actually just downloaded Lisa Bella Donna's Grandmother patchbook to try your approach on my Matriarch (probably a lot easier than on the Hydrasynth, but still some things to think about). Thanks a lot!
You got it! Going trough this mental exercise to have to understand to be able to immediately apply helped me a lot to really understand what she was doing in terms of sound design. As a fun fact I've watched an interview with her after doing this video and she spelled with all words some of her "tricks" with envelopes and amplitude modulation that confirmed to me some of the concepts or "lessons" we could learn from her patch collection. Have fun with her collection and share your insights ! (oooo matriarch... is on my wish list)
@@ShaperSoundChannel Thanks for taking the time to answer. I forgot to mention that you did a really fine tutorial here, clear and easy to understand, eye-opening and helpful! I'll let you know how that idea works on the Matriarch, mate.
I have been missing the audio rate oscillator inputs in the mod matrix too, I think the reason they left it out was that you can do most of the audio rate modulation in the mutants. Still wish it was an option though.
This is a cool idea for a video series. Well done and easy to follow. For me, I'd prefer it without the same clip of music between every chapter. I'm going to come back and watch again when I have time to sit down with my Hydrasynth. Unfortunately I have the explorer, so I'll need to see if I can figure out a way to substitute for the patch cable.
Thanks for the feedback. Yes the music in between was an idea to bring back the end result, but your feedback is good to not make it do repetitive. Let me know latter if you found another route for the patch cable on the explorer, do that we can share with others how to do it there.
Good call. Not excusing myself but, on the latest episode of this series around Ladytron, you can see the progress around mixing as the original. Far from pro, but geometric progression. Izotope tools were crucial for me to learn and compare mixes, it is a whole other universe going from playing instruments up to music and video production. Many people don’t know what goes behind. But it is very good when the community give feedback with tips so all can learn, including myself.
OK cool. As long as viewers can check out your mix & your process and then make sure to soak up everything great about the original mix (super layered).. then great 😃👍
Yes the discussion is super important, the best of my videos were the ones that you guys gave your opinion, I even had collaborated with the audience showing their own take of my patches. It is great when you take the time to give feedback
Good feedback. As I had progress on this series I was more attentive to the mix by studying and equipping myself better. My focus has been in Sound design. But this specific series thought me a lot about sound engineering. I mean this channel is a school for me. Started a year ago from scratch on video editing, filming, producing with focus on subtractive synthesis, then learned about mixing and Mastering as much as one can teach one self. Like I always say, this channel is about the ride,about the journey.
i am one of those people who would say to use the hydrasynth. haha. are you telling me i need to get more synths to follow along? i still need to do the thom yorke patch video, so im behind now, I better catch up.
Hi brother! Absolutely no need from extra synths. I am forcing myself out of my comfort zone to learn new tricks. But Hydra is a full sound design lab, all the tools you need there. I am actually wanting to try the vowel sound there to hear how it sounds . I am a bit obsessed for that timber since the guitar times. Dire Straits used to have a wha pedal on a stationary position just to get that filter sound. When I find it I will make a video on it! Cheers!
Thanks for sharing, I always try to encourage people to try out with their own gear and instruments. So when someone shares, both, that they succeed, moreover that they could reproduce it with different instruments it is rewarding for me! I get extremely curious to see and hear your setup.
yes this was workt to see , never used combo M32 and Edge and you know modular world, you can adjust patch to your environment. I have added strega hell on top it and it sounds killer @@ShaperSoundChannel
I’m with you there. Always thought LBD sound scape is not my cup of tea, but she is a synth Guru for many reasons. Some valid lessons there that I’ve been using after going through this video’s research
I tried to recreate this patch on my own... I was only semi-satisfied with the results since I am a novice at sound design.... I like both your patch and the one that was contributed. Do you or your contributor have your patches available?
Hi Barry, many people has been asking lately to have access to the different patches I teach in the channel. I am looking into proper ways of making them available to the public, so I keep you guys posted on the channel when I finally get the infrastructure set.
@@ShaperSoundChannel That would be so awesome.... I am a big Radiohead fan and have considered starting a Radiohead tribute band or at least playing songs like this one in some of my other bands.
I really like the lights around the buttons you are making. its a great visual aid. also i think if i was making this patch i would set the slowing down effect to be based off aftertouch rather than an LFO. I can try to make my own version later this week i hope and see how that goes.
Please do! Yes I had the same instinct to use aftertouch, since it is such an amazing expressive controller, but it didn’t work out for me, but let me know about your results… btw, happy new year!!!🎊
Thanks! That’s the idea Oistercatcher, that the patch ideas are platform agnostic. Let me know how it went for you. The secret for me was 32’ on the long LFO and 1/4 of the bpm on the trigger. However I could calibrate by phasing. Happy new year!🎆
@@ShaperSoundChannelthanks. I got a pretty good phaseplant patch, quite hard to translate the values such as the filters though. My tempo effect is note specific unfortunately so I need to try and fix that. It’s very warm and analog although higher notes are a little weak. Some tweaks required. Good exercise for me though. Happy New Year🎉
