We'll be the judge of that. Post some jamz
I'm a little embarrassed to, but I found two songs that I did about twenty years ago.
Forgot I'd stuck them on the webulator. Getting all nostalgic now.
Don't blame the machinery, the focus on machinery (for those that focus on machinery and you never hear any music from at least) is all just distraction and avoidance. Letting people hear your jams, playing a show, whatever is a pretty exposing experience and lots of people - especially the socially awkward loner men who make up 98% of the synth sphere - struggle to make that first leap into the blue... so they tinker in their spare rooms for decades on end working on the perfect set up instead.
Good stuff - I was thinking 'are we doing the electroclash revival finally', then I saw they were 20 years old and actually, they're electroclash first time round...I'm a little embarrassed to, but I found two songs that I did about twenty years ago.
Forgot I'd stuck them on the webulator. Getting all nostalgic now.
I'd just like to point out that FM synthesis is additive synthesis - the opposite of subtractive synthesis.I thought that was a server rack at first. There comes a point with modular where you need to rein it in.
Seriously though, I started off with my MS20 clone, a semi-modular synth, just plugging wires in. That yielded nothing but silence, a very pregnant silence, a 'silent' silence. A very loud and interesting silence. Then I looked at the manual. I read it to the end. I turned it upside down and held it up to the light. The silence became almost musical. I tried the patch book and lo! Let there be sound. A farty sound.
It was around that point that I thought that it was probably a good idea to understand what all the labels under the knobs meant, so I am doing that. I have a very basic synth, an oscillator or two and a modulator or three and some filters. I start with a sound wave and I take stuff away from it. I have learnt that FM, Subtractive and Wavetable synthesis are pretty much all in the same ballpark.
The point of all of this is to give my reaction to someone who can have a million wires plugged in and get pure sounds like this from the modules behind them. Once I can do that then there will be no more silence, ever again.
At its most basic, subtractive synthesis e.g. typical analogue synth, starts with a complex waveform (one with a lot of harmonics - e.g. a saw or square wave). Filters are then used to subtract frequencies from this wave. Modulators and envelopes are used to further shape the sound.
At its most basic, subtractive synthesis e.g. typical analogue synth, starts with a complex waveform (one with a lot of harmonics - e.g. a saw or square wave). Filters are then used to subtract frequencies from this wave. Modulators and envelopes are used to further shape the sound.
Briefly, FM synthesis starts with a simple waveform (usually a sine wave) which is called a carrier. This wave is modulated by by another wave (unsurprisingly called a modulator). The resultant wave will be rich in harmonics, which can subsequently be filtered/modulated etc. FM synthesis soon gets very complicated!
Used to use ... Korg Prophecy , Korg z1 , Novation bass station TBS DRM 1 and stuff like that until my caravan got burnt out
Now i am just on an ableton push2 and softsynths .... mainly Diva , Abl3, Waldorf Attack, AudiorealismDM, Izotpe stutter edit and reaktor .
here is a couple of tracks I was working on at the start of lockdown... but working now so have put to the side
confuse-A-cat
Since bheringer have brought out the TD3... I have started to remodel my studio back to analogue ... oh yes .
