![]() ![]() From the variability and Trackiung has the Fishman PickUp a clear advantage, especially since you have here, as it provides midi signals with the Dwarf much more influence on the sound. At the moment I’m experimenting with both a SY1 and a Fishman Triple Play. ![]() I haven’t found a pure solution via plug-ins yet either. But I’m afraid that the answer is a bit too complex for the question :-). You can get away with one envelope and LFO with 3 VCO’s but recommend that you sync 2 of the oscillators.Ī good question and a very detailed answer by Elk_wrath. I also recommend one LFO and Envelope per VCO for complex sounds, but you can generally be fine with one LFO and Envelope for 2 VCO’s. There are some great synth channels that have great tutorials on sound design. It’s a lot of work, and is dependent on plugins that may or may not even exist yet, but that is how I’d try to do it if I was going to experiment.Įdit: Oh! To find out how to build specific sounds like plucks, leads, pads, bass, etc… hop on YouTube and search for how to build (xyz) sounds on synths. The order I listed these plugins should be close enough to a synthesizers signal path. It might be cumbersome to save each built sound as a board, and use snapshots to swap between them. Now I’m not exactly sure how you’d be able to create or save the “synth presets” that you built, since the oscillators control your timbre, and envelopes control your sound (pluck, pad, bass, lead, etc…) so those would be the primary things that would need to be saved. You can also patch that stereo cross fade out into your effects chain and then to your device output. Then I’d recommend putting a stereo cross fade plug-in at the end of the chain, and patch your dry signal and synth output into it to control your wet/dry mix on the output. This should allow you to build your own personal synth sounds with a bit of envelope manipulation. But I also use a hydrasynth that utilizes 2 filters in my audio path, with 17 filter types to choose from. This allows you to control the “brightness” of the sound.Ī single HP/BP/LP filter would be enough, and I know that plug-in exists. You can also apply an envelope or LFO on the VCA for volume control and swells.Īnd finally, one or two filters (High pass/Band pass/Low pass) with either a 6,12, or 24 dB filter. If there is a VCA (voltage controlled amplifier) plug-in, put this in before the filter. But it will chew up the CPU most likely.Ī lot of people apply LFO’s to the filter for automated filter sweeps, or to the VCO’s themselves for timbre change, etc… The more LFO’s the more complex you can make your sounds. ![]() You will most likely want a modulator like an LFO for automation. Slow attack, long release for pad sounds etc… ADSR envelopes are preferable for certain sounds, and is what I recommend to use. These help shape the way the sound behaves. This raw VCO signal will need a few more plugins.Ī mixer for the VCO’s if you are working with voices greater than monophonic.Įnvelopes that can do Attack/Release, or Attack/Decay/Sustain/Release. What I think might work, is finding a plug-in that listens to the incoming audio note, and converts it into a midi message.įrom that midi converter, you should be able to patch it into a separate midi chain that consists of however many VCO’s (voltage controlled oscillator) you need (monophonic, duophonic, paraphonic, or polyphonic) and what wave shape (Saw, Sine, Pulse, triangle, waveform, etc…) while being mindful of cpu usage. My studio is ripped apart right now because I had to convert it into an office space while I have been in driving school (passed all online stuff, tomorrow I head south to attend on road classes) so I can’t look at my plug-in options.Īs a synthesizer player, sound design is a big deal, but it takes a lot of work.Ī mapping in my brain that I have to potentially accomplish what you would like to do would take considerable work. So I’m looking at the SY-1 and it does seem simple to use for guitar. ![]()
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