# What synths do top composers use?



## Pier

We all know HZ uses Zebra of course 

I've seen Trevor Morris say he uses Zebra as well and a couple of hardware synths.

I saw a video by JunkieXL sharing his new synths: Generate, PhasePlant, and the new colorful West coast style synth by Arturia (can't remember the name). He's a synth head trough and trough so I guess he has tons of other virtual synths. Probably Zebra too 

I remember seeing a video with Mac Quayle using Diva on Mr Robot.

Ludwig Goransson has a modular IIRC, and probably every vst in the planet. Probably @KEM knows which are his favorites?


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## givemenoughrope

I think I read something about parts of the Blade Runner sequel (or maybe it was something else by just Ben W.) used some Prophet 12. I could be flat out wrong though. Maybe someone here knows. Curious though as that's a great and versatile wavetable synth.


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## KEM

Pier said:


> We all know HZ uses Zebra of course
> 
> I've seen Trevor Morris say he uses Zebra as well and a couple of hardware synths.
> 
> I saw a video by JunkieXL sharing his new synths: Generate, PhasePlant, and the new colorful West coast style synth by Arturia (can't remember the name). He's a synth head trough and trough so I guess he has tons of other virtual synths. Probably Zebra too
> 
> I remember seeing a video with Mac Quayle using Diva on Mr Robot.
> 
> Ludwig Goransson has a modular IIRC, and probably every vst in the planet. Probably @KEM knows which are his favorites?



That Arturia synth would be the Buchla Easel V, and don’t forget he also had the Knifonium in there as well!!

And I actually don’t know what soft synths Ludwig uses, I know he was shown using Hive in the TENET behind the scenes documentary, but other than that he’s never talked about or been seen using anything else, my best guess is that most of Venom and the dubstep stuff in the newest season of Mando is Serum but I really have no clue, wish I did cause you know how much I want to be using what he uses… but one day I will be working for him so I will report back when I have that info


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## chocobitz825

Can I ask an honest question…what benefit is it to know what a favored composer uses?


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## KEM

chocobitz825 said:


> Can I ask an honest question…what benefit is it to know what a favored composer uses?



If you love someone’s work it’s understandable to be curious as to how they make it in the first place, and we all have that glimmer of hope that using the same stuff as our hero’s will allow us to be them, I know I want everything Ludwig uses!!


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## X-Bassist

chocobitz825 said:


> Can I ask an honest question…what benefit is it to know what a favored composer uses?


It might get you to check out a synth you would never normally check out, then love.

For instance I was skeptical about a silly synth called Omnisphere... I mean, who's got the balls to call their synth "Omnisphere"? Like calling it "Everything that exists on the planet". The bits I heard were wonky and plasticy and I thought people were nuts for liking it.

Then I heard from a serious composer who used it who encouraged me to take another look. Then another composer, then another... so I watched more videos to check it out. Then watched some preset videos from the unfinished and realized it was much more than I thought. And once I bought it I found it played better and the filters sounded better than anything I ever heard. Omni 2 made it even better, and I can import samples... amazing.

Now I'm a Keyscape and Trilian Fan and I use all three all the time. Still waiting for an RMX update before I make the dive, but once you get into spectrasonics, you realize you'll want it all.

And I was a serious skeptick.


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## chocobitz825

KEM said:


> If you love someone’s work it’s understandable to be curious as to how they make it in the first place, and we all have that glimmer of hope that using the same stuff as our hero’s will allow us to be them, I know I want everything Ludwig uses!!


I find it interesting because even though I love the works of certain composers or writers, I’ve never felt that their chosen gear or software fit my needs. I take influence from some of their techniques occasionally but never software or gear.


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## chocobitz825

X-Bassist said:


> It might get you to check out a synth you would never normally check out, then love.
> 
> For instance I was skeptical about a silly synth called Omnisphere... I mean, who's got the balls to call their synth "Omnisphere"? Like calling it "Everything that exists on the planet". The bits I heard were wonky and plasticy and I thought people were nuts for liking it.
> 
> Then I heard from a serious composer who used it who encouraged me to take another look. Then another composer, then another... so I watched more videos to check it out. Then watched some preset videos from the unfinished and realized it was much more than I thought. And once I bought it I found it played better and the filters sounded better than anything I ever heard. Omni 2 made it even better, and I can import samples... amazing.
> 
> Now I'm a Keyscape and Trilian Fan and I use all three all the time. Still waiting for an RMX update before I make the dive, but once you get into spectrasonics, you realize you'll want it all.
> 
> And I was a serious skeptick.


Fair enough, but I wonder if the same isn't achieved by searching for your own tools with an open mind an idea of what you're looking for.

I had omnisphere for a long time but never quite really got into its full potential until I started building my own patches, and watched a nice groove3 video about it. This forum is never short of people singing its praises but still, I find it hard to be motivated by external enthusiasm for a product.


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## Pier

chocobitz825 said:


> Can I ask an honest question…what benefit is it to know what a favored composer uses?


Probably nothing. Just curiosity, similar to how others like to see the orchestral templates of other composers.


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## doctoremmet

I noticed a lot of Absynth 5 instances in an actual DAW session of Tom Holkenborg in one of his Zack Snyder’s Cut videos. (As well as plenty of 8Dio Lacrimosa).


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## Voider

I know that Michael McCann used NI's _Absynth_ a lot in the _Deus Ex: Human Revolution_ Soundtrack.


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## Pier

doctoremmet said:


> I noticed a lot of Absynth 5 instances in an actual DAW session of Tom Holkenborg in one of his Zack Snyder’s Cut videos. (As well as plenty of 8Dio Lacrimosa).


Abysnth? Wow.

I might need to try it again. Haven't used it in like a decade.


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## Soundbed

Any "top" composers using Dune (by Synapse)? Upgrade price from v2 to v3 is $55 and they have new Cinematic presets it looks like. (I enjoyed vol. 1 of the cinematic presets and used them on several tracks.)


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## KEM

Soundbed said:


> Any "top" composers using Dune (by Synapse)? Upgrade price from v2 to v3 is $55 and they have new Cinematic presets it looks like. (I enjoyed vol. 1 of the cinematic presets and used them on several tracks.)



Well Hans Zimmer used it for Dune!!


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## Voider

KEM said:


> Well Hans Zimmer used it for Dune!!


Really? That would be funny, where did you get that information from?


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## sostenuto

Have used long list of Omnisphere _ 3rd Pty expansion creators _ to guide for many orchestral, cinematic, epic, xyz, interests. Often find very useful selections. 
Absynth 5 became more visible, as PluginGuru showed interest with early days expansions.
Knifonium creeping slowly, on short list.


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## Pier

Voider said:


> Really? That would be funny, where did you get that information from?


@Kevin Schroeder worked on Dune (the movie) and confirmed here on VIC he used it.






Who's really using Zebra2 in cinematic / sound design?


Don't think anybody will be surprised to hear that I like Zebra quite a bit. :) But it's always my go-to synth when working on projects (be it my own music or programming/production work for others). There's very little it can't do and do well.




vi-control.net


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## José Herring

I feel like the composers that have the resources to try everything can help us to find the best tools for our music with minimal waste. Also, it helps to find out why they chose certain things and that helps with learning to judge other things.

Without Tom Holkenborg I doubt I'd be using PhasePlant, Generate or Softube Modular, as well as many many other plugins that have become my favorite.

I also have to admit that without Hans Zimmer I would have never heard of Zebra or decide to use it, not because I didn't think it was good but because his insistence made me think hard as to why it's the most used synth in just about every other major film in the last decade +.


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## dunamisstudio

Voider said:


> I know that Michael McCann used NI's _Absynth_ a lot in the _Deus Ex: Human Revolution_ Soundtrack.



Good to know, I love that soundtrack.


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## KEM

José Herring said:


> I feel like the composers that have the resources to try everything can help us to find the best tools for our music with minimal waste. Also, it helps to find out why they chose certain things and that helps with learning to judge other things.
> 
> Without Tom Holkenborg I doubt I'd be using PhasePlant, Generate or Softube Modular, as well as many many other plugins that have become my favorite.
> 
> I'm also have to admit that without Hans Zimmer I would have never heard of Zebra or decide to use it, not because I didn't think it was good but because his insistence made me think hard as to why it's the most used synth in just about every other major film in the last decade +.



100%, I wouldn’t be using Zebra either without Hans, and I’m sure most people here would say the same


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## sostenuto

KEM said:


> 100%, I wouldn’t be using Zebra either without Hans, and I’m sure most people here would say the same


OT from OP, but this is such a persistent puzzle _ as very long-term Omni (now v.2.8) user.
ONLY reason for not having Zebra is never-ending need to learn/deep-dive into Omni. (Have Zebra CM). 
In positive / guidance context ...... what are 'salient' Zebra features, which make it stronger, more preferable, to Omni, as well as many others ?? 
Perhaps time to commit some time + effort. 🤷🏻‍♂️


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## Pier

KEM said:


> 100%, I wouldn’t be using Zebra either without Hans, and I’m sure most people here would say the same


I got into Zebra because back in 2010 I was unsatisfied with NI synths and also wanted to properly learn synthesis.

Saw a Youtube video of a guy making a kick with Zebra. I had never heard of it before nor of U-He. 

Then I google a bit and found HZ was using it and it blew my mind. Up to that moment I had that nagging feeling that plugins were inferior to hardware (most were). Bought Zebra full price, never looked back. Best audio purchase of my life.


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## Tice

I get the sense that answering 'What synths do successful people use?' with brand and model names may be missing the point. The most pertinent question is 'how did they make the choice?'. Did they use it just because that's what they had at the time? Did they use it to get a very specific sound or technique that wouldn't apply to other situations? Did they know what they were looking for in the first place, or just tried things out on whatever they had lying around? Methodology is the useful information here, not the name of the gear being used.


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## Pier

sostenuto said:


> what are 'salient' Zebra features, which make it stronger, more preferable, to Omni, as well as many others ??


I've never used Omni but for me:

1) Amazing sound (except the effects IMO that are only serviceable)

2) Workflow is unparalleled for medium to complex sounds. In Omni you have to change pages *a lot *(from the videos I've seen) but Zebra is much more streamlined. PhasePlant is also really good in terms of workflow.

3) Still to this day, one of the most flexible synths

4) Unique features such as the comb filter. AFAIK no other synth has one that is so powerful.


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## Pier

Tice said:


> I get the sense that answering 'What synths do successful people use?' with brand and model names may be missing the point. The most pertinent question is 'how did they make the choice?'. Did they use it just because that's what they had at the time? Did they use it to get a very specific sound or technique that wouldn't apply to other situations? Did they know what they were looking for in the first place, or just tried things out on whatever they had lying around? Methodology is the useful information here, not the name of the gear being used.


It's an excellent point.

I've seen a couple of videos about composers explaining why they use such and such strings library, but I don't think I've ever seen one about synths (except that one with JunkieXL).


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## sostenuto

THX much! 
Sound often arises in these discussions.
Workflow maybe function of which one used extensively ?
Comb Filter point appreciated. Will focus and expand understanding.

Regards


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## Tice

Pier said:


> It's an excellent point.
> 
> I've seen a couple of videos about composers explaining why they use such and such strings library, but I don't think I've ever seen one about synths (except that one with JunkieXL).


I really like Holkenborg's Youtube channel for doing that kind of thing. It's not that common that composers really focus on what they were thinking when they chose to do what they did.


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## KEM

Tice said:


> I really like Holkenborg's Youtube channel for doing that kind of thing. It's not that common that composers really focus on what they were thinking when they chose to do what they did.



Junkie’s channel is my favorite channel on YouTube, it’s an absolute gold mine and I’m so thankful it exists, so much of my musical development is due to his videos


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## Tice

Tice said:


> I really like Holkenborg's Youtube channel for doing that kind of thing. It's not that common that composers really focus on what they were thinking when they chose to do what they did.


Btw: major bonuspoints if they go so far as to change something about the choice they're talking about to demonstrate what would have happened if they had chosen differently. Such an under-estimated teaching tool, that!


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## doctoremmet

Pier said:


> Abysnth? Wow.
> 
> I might need to try it again. Haven't used it in like a decade.


Apart from the UI being what it is (or rather: _still_ being what is used to be hehe), the actual synth engine is still very capable. Brian Clevinger’s latest creation, Plasmonic, sort of shares the UI genes (green and kind of impenetrable). It too sounds great.


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## Faruh Al-Baghdadi

Soundbed said:


> Any "top" composers using Dune (by Synapse)? Upgrade price from v2 to v3 is $55 and they have new Cinematic presets it looks like. (I enjoyed vol. 1 of the cinematic presets and used them on several tracks.)


One of the best digital synths out there. Especially for media composing. Idk why it's not more popular among composers. Maybe because HZ hasn't endorsed it...


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## Pier

Faruh Al-Baghdadi said:


> One of the best digital synths out there. Especially for media composing. Idk why it's not more popular among composers. Maybe because HZ hasn't endorsed it...


I'm certain it's because of the UI.

For example, up until v3.5 released a couple of days ago, browsing presets was absolute crap.

Dune still needs a lot of work to come close to 2021 standards.


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## Faruh Al-Baghdadi

Pier said:


> I'm certain it's because of the UI.
> 
> For example, up until v3.5 released a couple of days ago, browsing presets was absolute crap.
> 
> Dune still needs a lot of work to come close to 2021 standards.


Sounds reasonable. But the sound and structure of the synth was always amazing. 
For me it's what Zebra supposed to be. By "supposed to be" I mean one of Urs' interviews, where he said that Zebra is his favorite synth and he loves soft synthesizer sound. But in my personal taste Zebra sounds not soft, but weak, while Dune gives me this feeling of "soft and smooth sound". 

Please, don't kill me for not licking Zebra


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## Pier

Faruh Al-Baghdadi said:


> But in my personal taste Zebra sounds not soft, but weak, while Dune gives me this feeling of "soft and smooth sound".


This is very personal, of course, but I would describe the sound of Zebra as classic rather than weak.

Another point I've argued previously here on VIC is that it takes some work to find Zebra's sweet spots, unlike other synths that are more obvious in a way. And then when you process it with third party effects, it really shines.

I've said many times here on VIC I think Dune is one of the best sounding synths in the market.


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## Mr Greg G

Voider said:


> I know that Michael McCann used NI's _Absynth_ a lot in the _Deus Ex: Human Revolution_ Soundtrack.


Are you sure about that? I identified a lot of Omnisphere presets in this soundtrack.


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## Faruh Al-Baghdadi

Pier said:


> This is very personal, of course, but I would describe the sound of Zebra as classic rather than weak.
> 
> Another point I've argued previously here on VIC is that it takes some work to find Zebra's sweet spots, unlike other synths that are more obvious in a way. And then when you process it with third party effects, it really shines.
> 
> I've said many times here on VIC I think Dune is one of the best sounding synths in the market.


Yeah, I completely agree and I'll definitely give Zebra another chance when they release 3rd version. It's just i didn't see the point of looking for sweet spots in a synth that I didn't like in general(personaly - in this case it's all about taste, right?) and moved on to other options. 

I've seen some details about Zebra 3 and it looks very promising, by the way. They'll add some filters from other synths, I think it could help dramatically.


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## José Herring

Pier said:


> This is very personal, of course, but I would describe the sound of Zebra as classic rather than weak.
> 
> Another point I've argued previously here on VIC is that it takes some work to find Zebra's sweet spots, unlike other synths that are more obvious in a way. And then when you process it with third party effects, it really shines.
> 
> I've said many times here on VIC I think Dune is one of the best sounding synths in the market.


My experience with Zebra exactly. At first I feel like, "what's the fuss" all about, then after about 15 minutes it sounds glorious and the sound is present so that it can take a lot of external processing without giving out.


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## Voider

Mr Pringles said:


> Are you sure about that? I identified a lot of Omnisphere presets in this soundtrack.


Keep in mind that Human Revolution was released in 2011 while Omnisphere 2 was released in 2015. So unless you're referring to Omnisphere before the huge 2.0 upgrade, that's hardly possible.

I believe that I've once read in an interview with him that he'd used Absynth a lot for the OST, I can't find it anymore though. So being aware that I might recall it wrong, I did some research and stumbled about this thread where someone who has been in McCanns studio around that time and talked to him about the OST says, that he indeed used Absynth:

"_Basically:
- I have no idea if some of the sounds were coming off his real Korg synth
- the plucks you hear are a combo of different VSTs and plug-ins, but you guys are on the right track that Absynth and Zebra were indeed used for those sounds._"

There are screenshots attached at the bottom too. 









KVR Forum: Michael McCann - "The Mole" from Deus Ex synth - Page 2 - Sound Design Forum


KVR Audio Forum - Michael McCann - "The Mole" from Deus Ex synth - Page 2 - Sound Design Forum




www.kvraudio.com


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## Mr Greg G

Voider said:


> So unless you're referring to Omnisphere before the huge 2.0 upgrade, that's hardly possible.


Yes Omnisphere 1 (and even Atmosphere) was released before Deus Ex HR. I identified the presets a loooong time ago when Omnisphere was not bloated with tons of presets so it was humanly possible to know them well!

@Voider 
Edit: just fiddled with Omnisphere 2s ago, stumbled on a patch that sounded like what you could find in the soundtrack but I can't pinpoint exactly where, definitely in ambient cues and not action ones.

View attachment Untitled1.mp3


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## Wes Antczak

doctoremmet said:


> I noticed a lot of Absynth 5 instances in an actual DAW session of Tom Holkenborg in one of his Zack Snyder’s Cut videos. (As well as plenty of 8Dio Lacrimosa).


Cue everybody running out the door to secure a copy of Absynth 5 and Larcrimosa.


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## Wes Antczak

Tice said:


> I get the sense that answering 'What synths do successful people use?' with brand and model names may be missing the point. The most pertinent question is 'how did they make the choice?'. Did they use it just because that's what they had at the time? Did they use it to get a very specific sound or technique that wouldn't apply to other situations? Did they know what they were looking for in the first place, or just tried things out on whatever they had lying around? Methodology is the useful information here, not the name of the gear being used.


This.


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## marius_dm

Mr Pringles said:


> Are you sure about that? I identified a lot of Omnisphere presets in this soundtrack.


Let's not forget that Absynth was used to generate quite a few Omnisphere patches.


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## Mr Greg G

marius_dm said:


> Let's not forget that Absynth was used to generate quite a few Omnisphere patches.


I didn't know that.


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## chocobitz825

Tice said:


> I get the sense that answering 'What synths do successful people use?' with brand and model names may be missing the point. The most pertinent question is 'how did they make the choice?'. Did they use it just because that's what they had at the time? Did they use it to get a very specific sound or technique that wouldn't apply to other situations? Did they know what they were looking for in the first place, or just tried things out on whatever they had lying around? Methodology is the useful information here, not the name of the gear being used.


Yeah I feel like this is overlooked and the assumption is that composers had some magic radar for the best gear and software. I mean, what if these are just things they picked up on sale or these were things that they got because it’s all they could get when they started out. Is the software the key to their sound, or is the time they spent perfecting their workflow and learning the software to pull what they need out of it? Or is it really just that the presets they needed were there? The thing that really sticks with me about the topic of synths rather than sample libraries is that with comprehension of how synths work, in many cases what synth you use shouldn’t matter that much. I care less about what synth they used, and would rather figure out the construction of the sound.


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## lux

when it comes to synths maybe what works for top composers may not work for you, or me. 

Strict deadlines, a lot of work and a serious responsibility for movies where studios invested dozens millions probably narrows a bit the focus to what really fits a particolar cue, perhaps in terms of overall sonic quality and effectiveness. What really _serves the scope_, perhaps in a quick and affordable way. Which not necessarely means the most creative, which would require a good amount of free time and evenings spent by just doing nothing than playing less-than-farty sounds for the sake of it. I may be wrong, but if you're in a certain grade of the chain food you may not always have the time for such type of activity. Perhaps your creativity may be expressed most of time in the whole, not necessarely focusing on a single sonic detail. Maybe just not on a synth patch.

Also, a few top composers have been synths geeks for years before becoming the names they are today, so perhaps they got attached in years to a particular hardware synth or maybe to a specific process in creating or implementing a synth sound in a soundtrack. A matter of love, which, again, could be inextensible to other people.


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## Pier

This is the JunkieXL video I mentioned in earlier comments:




Edit:

I had forgotten he is using Massive X!


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## Bee_Abney

José Herring said:


> My experience with Zebra exactly. At first I feel like, "what's the fuss" all about, then after about 15 minutes it sounds glorious and the sound is present so that it can take a lot of external processing without giving out.


This is my impression with Zebra, which is why I keep going back to experiment with it even though I do not personally enjoy the sound greatly. There is clearly something there that I'm missing, and I might come to love it; but also, it achieves kinds of sounds that work well in an overall mix. With Falcon, I almost need to diminish it in some way to stop it dominating. I tend to use Omnisphere for sounds that will stand out, too. Zebra sits well in a mix and augments it, even if I don't want to give it too much attention myself.

Being a good base for third party effects is a great quality. It doesn't mean that the synth is lacking, but that rather that it has a harmonic life to it much like acoustic instruments.

And yet, still, I haven't found any sound in it yet that makes me want to play it for fun or take on a larger role in the music. (This goes for Hans Zimmer's use of it in Batman too.)


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## Bee_Abney

marius_dm said:


> Let's not forget that Absynth was used to generate quite a few Omnisphere patches.


I couldn't forget that until now. And now I'll try not to. Thanks for the information.


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## Bee_Abney

lux said:


> when it comes to synths maybe what works for top composers may not work for you, or me.
> 
> Strict deadlines, a lot of work and a serious responsibility for movies where studios invested dozens millions probably narrows a bit the focus to what really fits a particolar cue, perhaps in terms of overall sonic quality and effectiveness. What really _serves the scope_, perhaps in a quick and affordable way. Which not necessarely means the most creative, which would require a good amount of free time and evenings spent by just doing nothing than playing less-than-farty sounds for the sake of it. I may be wrong, but if you're in a certain grade of the chain food you may not always have the time for such type of activity. Perhaps your creativity may be expressed most of time in the whole, not necessarely focusing on a single sonic detail. Maybe just not on a synth patch.
> 
> Also, a few top composers have been synths geeks for years before becoming the names they are today, so perhaps they got attached in years to a particular hardware synth or maybe to a specific process in creating or implementing a synth sound in a soundtrack. A matter of love, which, again, could be inextensible to other people.


I agree. I asked Christian Henson about this, obliquely, in the comments of one of his YouTube videos and he actually replied. The video was about setting up his template for a new television series. He set out all of the sounds he would be using in advance. I asked about this, since some composers (acknowledging that it would be those with time) would see sound design as part of the composition process. He, clearly, is a big fan of experimenting with sounds; but his composing schedule doesn't leave him enough time to do that in the middle of a job.


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## sostenuto

Bee_Abney said:


> This is my impression with Zebra, which is why I keep going back to experiment with it even though I do not personally enjoy the sound greatly. There is clearly something there that I'm missing, and I might come to love it; but also, it achieves kinds of sounds that work well in an overall mix. With Falcon, I almost need to diminish it in some way to stop it dominating. I tend to use Omnisphere for sounds that will stand out, too. Zebra sits well in a mix and augments it, even if I don't want to give it too much attention myself.
> 
> Being a good base for third party effects is a great quality. It doesn't mean that the synth is lacking, but that rather that it has a harmonic life to it much like acoustic instruments.
> 
> And yet, still, I haven't found any sound in it yet that makes me want to play it for fun or take on a larger role in the music. (This goes for Hans Zimmer's use of it in Batman too.)


Often wonder if _truly capable_ composers 'cannot' accomplish what is needed/desired whether Omni 2 users, Zebra 2, or few others ?
Would likely be as content, if Zebra had been initial mainstream soft-synth choice, instead of Omni. 
Kudos to those who have talents to 'effectively' utilize both, as situations arise ! 👏🏻


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## Pier

Bee_Abney said:


> This is my impression with Zebra, which is why I keep going back to experiment with it even though I do not personally enjoy the sound greatly. There is clearly something there that I'm missing, and I might come to love it; but also, it achieves kinds of sounds that work well in an overall mix. With Falcon, I almost need to diminish it in some way to stop it dominating. I tend to use Omnisphere for sounds that will stand out, too. Zebra sits well in a mix and augments it, even if I don't want to give it too much attention myself.
> 
> Being a good base for third party effects is a great quality. It doesn't mean that the synth is lacking, but that rather that it has a harmonic life to it much like acoustic instruments.
> 
> And yet, still, I haven't found any sound in it yet that makes me want to play it for fun or take on a larger role in the music. (This goes for Hans Zimmer's use of it in Batman too.)


I tend to agree with this.

Most synths tend to wow when listening to a single presets but they lack the organic nature of Zebra which is something it took me years to appreciate.

I've never been able to nail exactly what actually makes Zebra have this sort of classic elegant sound. Sometimes I even think U-He added _something_ at the output but then I dismiss it as a conspiracy theory 😂


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## vitocorleone123

I've read (fwiw) that Hive 2 is getting some love, with the new Matrix movie and one other current release that's slipping my mind.


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## Bee_Abney

liquidlino said:


> Yes, I wonder if it's a mic-pre type final stage before output to give it a certain sound. I find putting mic-pre emulation plugins after synths makes them mix in much better. I'm geting a lot of mileage out of Analog Obsession plugs at the moment, they sound spectacular, especially when stacked on top of each other, hardly doing anything, other than adding their flavour.


I expect they're creating horrible, horrible artifacts! (That sound good.)


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## KEM

vitocorleone123 said:


> I've read (fwiw) that Hive 2 is getting some love, with the new Matrix movie and one other current release that's slipping my mind.



It’s used on TENET, and aren’t they releasing a soundset of the Matrix patches after the movie releases? That’s an instant purchase


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## Pier

liquidlino said:


> Yes, I wonder if it's a mic-pre type final stage before output to give it a certain sound. I find putting mic-pre emulation plugins after synths makes them mix in much better. I'm geting a lot of mileage out of Analog Obsession plugs at the moment, they sound spectacular, especially when stacked on top of each other, hardly doing anything, other than adding their flavour.


I've considered that maybe the mixer has some analog mojo going on. Like you said, some preamp or transformer.

It's probably the industry's best kept secret 😂


----------



## Voider

Pier said:


> I've considered that maybe the mixer has some analog mojo going on. Like you said, some preamp or transformer.


What I do to give patches more life is randomising some carefully picked parameters by very small amounts, something one does not _really_ hear, but it's there and it makes things less static. This technique is especially used to recreate real instruments on synths, since in reality any kind of physical interaction will never sound exactly the same when being done multiple times. But I found that sometimes - not always, depends on the patch and if you want it there of course - it can make a patch come more alive.

Maybe they programmed something like that into Zebra by default.
I can't recall to perceive Zebra being more organic, it's been years though.


----------



## Pier

Voider said:


> What I do to give patches more life is randomising some carefully picked parameters by very small amounts, something one does not _really_ hear, but it's there and it makes things less static. This technique is especially used to recreate real instruments on synths, since in reality any kind of physical interaction will never sound exactly the same when being done multiple times. But I found that sometimes - not always, depends on the patch and if you want it there of course - it can make a patch come more alive.
> 
> Maybe they programmed something like that into Zebra by default.
> I can't recall to perceive Zebra being more organic, it's been years though.


Yeah I do this all the time too.

Zebra does have drifting enabled by default, but I don't think that's where the magic is happening.


----------



## muziksculp

*DUNE 3.5* is my #1 Synth. But I'm not a top composer (yet).


----------



## Bee_Abney

muziksculp said:


> *DUNE 3.5* is my #1 Synth. But I'm not a top composer (yet).


Maybe tomorrow.


----------



## muziksculp

Bee_Abney said:


> Maybe tomorrow.


Tomorrow is always bright. 

I keep moving forward, always optimistic, and enjoy making, and listening to music, and always excited by all the related virtual software tools we use. Including real acoustic instruments, and HW Synths.


----------



## Kent

Every time I see this thread I can't help but see


----------



## handz

I hate zebra. It sounds good but programming it is nightmare. You probably need to be top composer to understand it.


----------



## Jeremy Morgan

sostenuto said:


> Have used long list of Omnisphere _ 3rd Pty expansion creators _ to guide for many orchestral, cinematic, epic, xyz, interests. Often find very useful selections.
> Absynth 5 became more visible, as PluginGuru showed interest with early days expansions.
> Knifonium creeping slowly, on short list.


Knifonium I tried for the first time yesterday and ...wow


----------



## handz

Pier said:


> Abysnth? Wow.
> 
> I might need to try it again. Haven't used it in like a decade.


Same same 10+ year ago it was quite nice vsti. Easy to use back then


chocobitz825 said:


> Can I ask an honest question…what benefit is it to know what a favored composer uses?


really weird question on a forum like this. Who the hell does not want to know what top composers use here?


----------



## sostenuto

Using Omni 2.8 _ Thead pushing Positively toward Dune 3, as top-tier addition _ yet was committed to Abyss, as highly motivating, stimulating, fun add. 

Fair to commend Abyss, yet exclude from this discussion _ as being more 'niche' choice ??


----------



## Bee_Abney

sostenuto said:


> Using Omni 2.8 _ Thead pushing Positively toward Dune 3, as top-tier addition _ yet was committed to Abyss, as highly motivating, stimulating, fun add.
> 
> Fair to commend Abyss, yet exclude from this discussion _ as being more 'niche' choice ??


I don't have it, but I understand that it has certain limitations. I believe it uses samples, but whatever it uses, there is a finite number of them to play with. It's unusual way of combining sound sources means that you may find yourself making sounds that you wouldn't have otherwise, but it may make it difficult (or different enough) so that that, added to the limited sound sources, makes it less ideal for building patches according to a plan or pre-imagined sound.

Also, I hear it is great for pads. I don't know how it does with textures, but I doubt it is a good all round workhorse.

And, it's a recent synth, and top composers are old, grizzled and experienced with older, grizzlier synths.

None of that should put you off it!


----------



## Pier

kmaster said:


> Every time I see this thread I can't help but see


Ok I admit it was a bad title 

But everyone understood what I meant!


----------



## sostenuto

Bee_Abney said:


> I don't have it, but I understand that it has certain limitations. I believe it uses samples, but whatever it uses, there is a finite number of them to play with. It's unusual way of combining sound sources means that you may find yourself making sounds that you wouldn't have otherwise, but it may make it difficult (or different enough) so that that, added to the limited sound sources, makes it less ideal for building patches according to a plan or pre-imagined sound.
> 
> Also, I hear it is great for pads. I don't know how it does with textures, but I doubt it is a good all round workhorse.
> 
> And, it's a recent synth, and top composers are old, grizzled and experienced with older, grizzlier synths.
> 
> None of that should put you off it!


@ Tatiana Gordeeva surely got in my head with earlier creations. Dune 3 is top complement to Omni v2.8, yet will impose major study/learn time. 
Abyss really should. as well, but guessing more 'fun' _ _( rhymes with nun )_ in the process.


----------



## Bee_Abney

sostenuto said:


> @ Tatiana Gordeeva surely got in my head with earlier creations. Dune 3 is top complement to Omni v2.8, yet will impose major study/learn time.
> Abyss really should. as well, but guessing more 'fun' _ _( rhymes with nun )_ in the process.


I think it will be fun too. But I find designing sounds in Falcon fun, so it seems like my opinion on fun is nun too reliable!


----------



## chillbot

I am top composer for sure.

I use (in this order, for software not hardware):

Omnisphere
Zebra
Hive

However were I really top composer or at least reasonably well-paid mid composer with a smallish staff I would have a dedicated person or peoples that would design me both bespoke and original patches and sounds/sound design for every project utilizing these synths which I would later release to the public for a small or reasonably fair price using my name/image or the name/image of the project if allowed. Maybe people have done that already, I dunno.


----------



## Alchemedia

doctoremmet said:


> I noticed a lot of Absynth 5 instances in an actual DAW session of Tom Holkenborg in one of his Zack Snyder’s Cut videos. (As well as plenty of 8Dio Lacrimosa).








* "Absynth makes the heart grow flounder, er, fonder." ~Oscar Wilde *


----------



## darkogav

Iirc .. a few months after that NI/Uhe sale last time, the KVR forums got flooded with second hand Zebra licenses once people realized how hard it was to use it. 😁


----------



## KEM

chillbot said:


> I am top composer for sure.
> 
> I use (in this order, for software not hardware):
> 
> Omnisphere
> Zebra
> Hive
> 
> However were I really top composer or at least reasonably well-paid mid composer with a smallish staff I would have a dedicated person or peoples that would design me both bespoke and original patches and sounds/sound design for every project utilizing these synths which I would later release to the public for a small or reasonably fair price using my name/image or the name/image of the project if allowed. Maybe people have done that already, I dunno.



I just want a TENET soundset


----------



## chocobitz825

handz said:


> Same same 10+ year ago it was quite nice vsti. Easy to use back then
> 
> really weird question on a forum like this. Who the hell does not want to know what top composers use here?


It’s synthesis…I mean…maybe they used hive, but you could make a similar sound with a number of other synths. I just find it odd to focus on the software more than the technique. I can understand the curiosity, but not so much the inclination to imitate. Just because HZ used Zebra doesn’t really mean it’s something we all need to use. Shouldn’t we be trying to find our own unique sounds?


----------



## Jeremy Morgan

chocobitz825 said:


> It’s synthesis…I mean…maybe they used hive, but you could make a similar sound with a number of other synths. I just find it odd to focus on the software more than the technique. I can understand the curiosity, but not so much the inclination to imitate. Just because HZ used Zebra doesn’t really mean it’s something we all need to use. Shouldn’t we be trying to find our own unique sounds?


The question was "what synths do the top composers use" not "if I wanted to imitate the pros what would I need to use".


----------



## darkogav

chocobitz825 said:


> Shouldn’t we be trying to find our own unique sounds?


God forbid originality. Everything needs to sound like it was made out of Hans' basement.


----------



## whinecellar

Pier said:


> Dune still needs a lot of work to come close to 2021 standards.


I don’t know what those standards are, but man, it’s just the opposite for me: Dune is the synth against which all others are measured, at least in terms of sheer sound quality, ease of use, and inspiration factor. It’s just a monster in every way. Omnisphere is up there with it for sound an inspiration, but I absolutely hate using it - it feels like swimming in quicksand much of the time. 

YMMV of course, but it’s a head scratcher to me that any synth lover wouldn’t have Dune high on their list!


----------



## Bee_Abney

whinecellar said:


> I don’t know what those standards are, but man, it’s just the opposite for me: Dune is the synth against which all others are measured, at least in terms of sheer sound quality, ease of use, and inspiration factor. It’s just a monster in every way. Omnisphere is up there with it for sound an inspiration, but I absolutely hate using it - it feels like swimming in quicksand much of the time.
> 
> YMMV of course, but it’s a head scratcher to me that any synth lover wouldn’t have Dune high on their list!


I agree that Dune 3.5 matches Omnisphere for the sounds that it does well; but I suspect Omnisphere is a bit more versatile. If you are going to have, and learn, more than one synth, I'd certainly pick Dune over Omnisphere for sound. But, you know, tastes vary. I like using Omnisphere, but it does trouble my CPU on occasion. (So does Falcon, but only for the sounds that no instrument can do without troubling my CPU).

Not being a synthspert, Dune 3.5 may be lacking in all sorts of ways that I don't know about, but I am attracted to the smooth but robust sounds.


----------



## Bee_Abney

chocobitz825 said:


> Shouldn’t we be trying to find our own unique sounds?


I think that depends on the job and how much you want it and a reputation as a reliable professional. Or, in my case, yes. Yes, I want to find my own unique sounds. But finding my own unique voice as a composer or musician would probably come first for me.

Outside of the fact that everyone's sound is unique somewhat (yes, there are of course degrees of uniqueness; if it referred only to absolute uniqueness it would have no value as a comparative), I'm never going to find a unique voice, way of playing, or composing. So, I generally focus on trying to express myself (hence my last song 'I hate my phone falling out my back pocket into the loo' or the perennial favourite 'I don't want to get up, but I don't want to stay in bed'), or write something that does a certain job, as well as I can.

But you do raise some interesting questions for another thread, if you wanted to start it. Such as, 'What have I learned from X?' or 'What is the wildest, least used instrument that is still sort of good?' Or some such.


----------



## Pier

whinecellar said:


> I don’t know what those standards are, but man, it’s just the opposite for me: Dune is the synth against which all others are measured, at least in terms of sheer sound quality, ease of use, and inspiration factor. It’s just a monster in every way. Omnisphere is up there with it for sound an inspiration, but I absolutely hate using it - it feels like swimming in quicksand much of the time.
> 
> YMMV of course, but it’s a head scratcher to me that any synth lover wouldn’t have Dune high on their list!


I agree it's one of the best sounding synths, but in that bit you quoted I'm referring only to the UI.


----------



## Pier

Bee_Abney said:


> Not being a synthspert, Dune 3.5 may be lacking in all sorts of ways that I don't know about, but I am attracted to the smooth but robust sounds.


The only real limitation I've found is that the FX buses are always operating in parallel and there are no master effects (other than a limiter you can only turn on or off). This limits the layering system IMO.

This is not an issue for your bread and butter synth sounds, but it is if you want to create complex layered sounds. And that's the whole point of having layers, right?


----------



## Loïc D

C’mon, everyone knows it’s not what synth is used is the most important…

The most important is what reverb they use 
(joke works also with saturation plugins)

Ok to stick back to OT : yes, it’s important.
I’ve learn my « carte du tendre » (geometry of love) of synth by reading cover sleeves of JMJ, Vangelis & Kraftwerk albums.


----------



## Bee_Abney

Pier said:


> The only real limitation I've found is that the FX buses are always operating in parallel and there are no master effects (other than a limiter you can only turn on or off). This limits the layering system IMO.
> 
> This is not an issue for your bread and butter synth sounds, but it is if you want to create complex layered sounds. And that's the whole point of having layers, right?


That makes perfect sense, yes. A major problem if you want to design interesting patches, especially if you wanted to share them (with or without remuneration). Less of an issue for production, where you can layer multiple instances and add extra plugins.


----------



## Rctec

The question shouldn’t be “What”, it should be “why”.

the first thing is that most synth give you very impressive sounding Stand-Alone Presets, that will never sit comfortably in a track. It’s a preset designed to impress and seduce on its own, while useful sounds are usually darker and less show-off-y. That’s why people liked our presets from the “Dark Zebra”: they where actually made to sit well in a - very often orchestral - track, which is how they where created: with purpose during the writing and recording of a score.





But why did I pick my main synth in the first place?
i come from the analogue world. The five synth that are my go to synth are a Moog 55 (921 or 901 - don’t care that much…), an early, SSM filters Prophet 5, a CS 80, a Roland system 100M, and an EMS VCS 3. They all sound different, but they have a solid sonic core. The Prophet is interesting, because the SSM one kept breaking down and I bought a spare v3 with the Curtis chips, and I couldn’t stand it…

So when I started looking at VST synth (and I probably had all of them at one point…) I needed something with a fairly uncompromising sonic core and quality. Why spend hours trying to create a patch in software, if it doesn’t stand up to the hardware in my room?

it wasn’t really until I found Zebra that I thought i found the synth for all seasons. Which is, of course, not entirely true.

”Legend” for me is the closest you can get to the sheer power of a true Mini Moog, (and having a full ADSR is an actual improvement on the good Doctor Moog’s design…) and “Dune 3.5” is sonically beautiful.

i have a hardware Knifonium, which is a piece of sheer beauty. There is no synth like it. And the VST emulation is well worth a look!
ive managed to emulate the CS80 quite successfully in Zebra. Ask Ed Buller… he was working with my real one, I with the Zebra one…

so, other than Sonic Quality, Zebra is nearly flawless in its programming environment. If you look at just the unusual structure and possibilities within a single VCO, or the multitude of Filter choices, it becomes really hard to not make this the daily work-horse, since it’s a programmers and sound-designers dream.

but, of course you want to stray sometimes and find variety - which those other synth give me, without compromising the core quality.


----------



## Bee_Abney

I've been playing a bit with fitting orchestral and synth sounds together. I have to say that it really shows up the shortcomings in my own patches - mostly in Falcon. It's not that they are too busy, so much as they are too intrusive. The same instruments with a preset by someone like Leap Into The Void works so much better. 

As before, I have to keep going with Zebra, but I think I should start experimenting in a broader musical context.


----------



## Pier

Bee_Abney said:


> That makes perfect sense, yes. A major problem if you want to design interesting patches, especially if you wanted to share them (with or without remuneration). Less of an issue for production, where you can layer multiple instances and add extra plugins.


Yeah exactly!

The problem is sharing these multilayered synth patches as it's trivial to do that in a DAW. I'm guessing that's why companies end up making Kontakt libraries which allows them use anything to produce the final sound and distribute it as samples.

Studio One has found a great solution for this with the music loops feature. Hopefully other DAWs will implement something similar.


----------



## D Halgren

Bee_Abney said:


> I've been playing a bit with fitting orchestral and synth sounds together. I have to say that it really shows up the shortcomings in my own patches - mostly in Falcon. It's not that they are too busy, so much as they are too intrusive. The same instruments with a preset by someone like Leap Into The Void works so much better.
> 
> As before, I have to keep going with Zebra, but I think I should start experimenting in a broader musical context.


Leap Into The Void's Bazille sets are my favorite!


----------



## AndrewS

The answer is whatever synth works for the cue and the sound you're going for.

If the cue needs a Casio VL-1, then that's what you use.


----------



## zvenx

Rctec said:


> The question shouldn’t be “What”, it should be “why”.
> 
> .....



Yes but are you a top composer?...

I of course Kid.
(Hoping he has a great sense of humour, fingers crossed)
As Always thanks for your insight and words of wisdom Hans.

I am curious if you have ever tried softube's model 72. 
I don't have as much mm experience like you, but I had similar views on the Legend till I got Model 72.
I now use that one all the time.


Rsp


----------



## Bee_Abney

Pier said:


> Yeah exactly!
> 
> The problem is sharing these multilayered synth patches as it's trivial to do that in a DAW. I'm guessing that's why companies end up making Kontakt libraries which allows them use anything to produce the final sound and distribute it as samples.
> 
> Studio One has found a great solution for this with the music loops feature. Hopefully other DAWs will implement something similar.


It's always nice to hear something good about the DAW I use! It makes the constant crashing easier to bear...


----------



## Bee_Abney

zvenx said:


> Yes but are you a top composer?...
> 
> I of course Kid.
> (Hoping he has a great sense of humour, fingers crossed)
> As Always thanks for your insight and words of wisdom Hans.
> 
> I am curious if you have ever tried softube's model 72.
> I don't have as much mm experience like you, but I had similar views on the Legend till I got Model 72.
> I now use that one all the time.
> 
> 
> Rsp


The demos of the Model 72 do sound fantastic!


----------



## zvenx

It's fits in the mix even better to me.
And I also have Legend and the NI's Monark.
Rsp


----------



## sostenuto

D Halgren said:


> Leap Into The Void's Bazille sets are my favorite!


Favs ?? Have messaged MA for his ... but currently using Beatzille. Hoping his soundsets can work.


----------



## doctoremmet

@Sound Author just released a second Bazille soundset too.


----------



## Pier

doctoremmet said:


> @Sound Author just released a second Bazille soundset too.


Here it is!


----------



## easyrider

Syntronik….


----------



## doctoremmet

easyrider said:


> Syntronik….


----------



## easyrider

doctoremmet said:


>


----------



## Sound Author

Thanks for the shoutouts guys, I appreciates it.


----------



## D Halgren

sostenuto said:


> Favs ?? Have messaged MA for his ... but currently using Beatzille. Hoping his soundsets can work.


I like them all, but I lean towards the experimental. Not sure if Beatzille would work 🤷‍♂️


----------



## vitocorleone123

whinecellar said:


> YMMV of course, but it’s a head scratcher to me that any synth lover wouldn’t have Dune high on their list!


Hive 2 is one reason. Very, very comparable, and one that Urs basically called "Zebra in a candy bar" - or something to that effect. I thought, at least at the oscillator level when comparing them, Hive 2 > Dune 3. I do think people should at least have one or the other. Both is probably overkill... which isn't always a bad thing, either.

Now, if you've mastered Zebra, would you also want/need Hive2? Perhaps, if only for potential inspiration differences in layout and structure. Hive2 is more capable that it appears, but it's no Zebra for flexibility (it trades off convenience and efficiency vs. flexibility).

Zebra is clearly a winner as far as adoption amongst successful professionals, as evidenced by Rctec weighing in. I'm not sure if it's because of that, or in addition, but the other U-He offerings seem to also be getting more notice/use (e.g. Hive 2).


----------



## chocobitz825

Jeremy Morgan said:


> The question was "what synths do the top composers use" not "if I wanted to imitate the pros what would I need to use".


My apologies. The flow of conversation after that went into the realms of “composer A used hive, so I want hive!” But I see it’s turned a bit more towards in-depth conversation about what these synths are, what they do differently, and their merits.


----------



## chocobitz825

Pier said:


> Yeah exactly!
> 
> The problem is sharing these multilayered synth patches as it's trivial to do that in a DAW. I'm guessing that's why companies end up making Kontakt libraries which allows them use anything to produce the final sound and distribute it as samples.
> 
> Studio One has found a great solution for this with the music loops feature. Hopefully other DAWs will implement something similar.


I wish musicloops and audioloops would become an industry standard. While I have no intention of leaving studio one, in collaboration, sharing an entire tracks worth of information in instruments/Multis, effects and audio/midi data is just too convenient.

Can the same be done with Unify plugin ?
I bought it but then never used it after I realized studio one already has multis. Perhaps this would be the way to create multis to share with others.


----------



## Pier

chocobitz825 said:


> Can the same be done with Unify plugin ?
> I bought it but then never used it after I realized studio one already has multis. Perhaps this would be the way to create multis to share with others.


Probably, but IMO the greatest feature about S1 music loops is that it stores an audio preview.

So you can quickly navigate those presets as if those were .wav files without having to reload all the plugins every time.


----------



## sostenuto

Putting GUI aside, as much as reasonble, are very talented synth gurus, stating that they cannot 'easily' make Omni v2.8 _ to sound like Zebra 2 ?? or vice-versa ?
Filters seem to arise often, as distinguishing characteristic.
So alternative filters cannot be used to rationalize the 'sound' parameter ? 
No dog in this argy-bargy, just trying to learn and understand.


----------



## chocobitz825

sostenuto said:


> Putting GUI aside, as much as reasonble, are very talented synth gurus, stating that they cannot 'easily' make Omni v2.8 _ to sound like Zebra 2 ?? or vice-versa ?
> Filters seem to arise often, as distinguishing characteristic.
> So alternative filters cannot be used to rationalize the 'sound' parameter ?
> No dog in this argy-bargy, just trying to learn and understand.


As base synthesis I imagine many things can be done closely with internal and external effects, but omnisphere has the ability to use samples as well. So in that area I could see why omnisphere provides something different.


----------



## kevinh

Im actually curious what synths terrible composers use because if it can’t shine a turd, I’m not interested.

Might come in handy some day….asking for a friend


----------



## vitocorleone123

kevinh said:


> Im actually curious what synths terrible composers use because if it can’t shine a turd, I’m not interested.
> 
> Might come in handy some day….asking for a friend


Well, let me get my list together…. 

😉


----------



## Bee_Abney

kevinh said:


> Im actually curious what synths terrible composers use because if it can’t shine a turd, I’m not interested.
> 
> Might come in handy some day….asking for a friend


I use Falcon 2.


----------



## Snoobydoobydoo

Five letters: Moog


----------



## chocobitz825

kevinh said:


> Im actually curious what synths terrible composers use because if it can’t shine a turd, I’m not interested.
> 
> Might come in handy some day….asking for a friend


Terrible composers probably use synths beyond their budget and skill level because of GAS and the influence of their idols got them.

Good tools, bad hands.


----------



## Snoobydoobydoo

chocobitz825 said:


> Terrible composers probably use synths beyond their budget and skill level because of GAS and the influence of their idols got them.
> 
> Good tools, bad hands.


Aww cmon. You learn better with good tools. Imagine building furniture with cheap ass Walmart chisels, you might end up throwing the result and yourself down a bridge.


----------



## chocobitz825

Snoobydoobydoo said:


> Aww cmon. You learn better with good tools. Imagine building furniture with cheap ass Walmart chisels, you might end up throwing the result and yourself down a bridge.


The irony of the practice right? Have to know how to use a good tool to know why a bad tool is bad. Preset diving doesn’t teach synthesis to the uninitiated.


----------



## Marcus Millfield

But how can you be bad at synths when it's all about making fart noises, right? Agreed, Moog makes the best, but still...


----------



## Double Helix

From filmboards (dot) com, here is a rundown (though probably not comprehensive by any means) of Jerry Goldsmith's arsenal:

The short answer is, a lot. Jerry owned and played with many, many different synths. Early Arp 2600's, to Minimoogs on films like Logan's Run can be heard.
For a while Jerry made good use of a Yamaha GS-1, this was one of their digital synths just before the DX7.
During the mid/late 80's Goldsmith had a studio of synths where he still used the GS-1, but mostly worked with three Yamaha DX7s, an Oberheim OB-8 synthesizer (plus the DMX drum machine, and DSX sequencer). He also sometimes used the Oberheim Xpander. He also had an analog Roland Jupiter-8, a Memorymoog, and a Sequential Prophet T-8, which got used a little less then, though Legend seems to have a bit more analog in it than some of the other scores then.
As modules became popular (synth with no keyboard) for Runaway he wrote much on Roland MBK-1000 keyboard controller. Much of the score was written with a Roland MSQ-700 sequencer. Jerry also still used the and Yamaha GS-1 and a Yamaha CE-20 I believe. Someone else mentioned the TX816, which is likely true. 
During that time Jerry had a connection with Yamaha, though I don't think he was sponsored by them, but he did have their name included in some of his soundtracks then. I'm not sure if he owned one, but the Yamaha DX1 was also on a few scores (basically a souped up, double DX7 in one synth).
Jerry also worked a lot with synthesists Ralph Grierson and Mike Lang. Which keyboards they owned, programmed or played I do not know. I do know that Jerry did some programming, but it was usually tweaking other people' da0 s patches to his desire and playing style.
Two other synths that were owned and used during that time by synthesist Craig Huxley, were the Rhodes Chroma (that Jerry didn't care for) and the NED Synclavier.
Edit: I didn't know all this off the top of my head, btw. Just been a Goldsmith fan forever, and a synthesist, and knew where to look online.


----------



## chocobitz825

Marcus Millfield said:


> But how can you be bad at synths when it's all about making fart noises, right? Agreed, Moog makes the best, but still...


Bloops, blips and brown noises


----------



## Double Helix

Marcus Millfield said:


> But how can you be bad at synths when it's all about making fart noises, right? Agreed, Moog makes the best, but still...





chocobitz825 said:


> Bloops, blips and brown noises


----------



## Snoobydoobydoo

chocobitz825 said:


> The irony of the practice right? Have to know how to use a good tool to know why a bad tool is bad. Preset diving doesn’t teach synthesis to the uninitiated.


Whats best is to use the aged but still working good tools from Papa. They will lack the shine though, but may have built your home.
If Papa still has his old Moog, you better sell it to finance your new home.

Experience the worst, experience the best, and let your wallet do the decision.
*Works fine in the red light district also.


----------



## Snoobydoobydoo

Marcus Millfield said:


> But how can you be bad at synths when it's all about making fart noises, right? Agreed, Moog makes the best, but still...


You automatically get better with more polyphony, you should know that. Owning more and more Synths also fill up your Studio and that is then all about acoustic room treatment. The Moogs for example are built to resonant themselves, even when turned off. The more Moogs, the more harmonic interaction between them.


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## Marcus Millfield

Snoobydoobydoo said:


> You automatically get better with more polyphony, you should know that.


So I'm safe owning a 16-voice Rev2, great!


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## Snoobydoobydoo

Marcus Millfield said:


> So I'm safe owning a 16-voice Rev2, great!


Safe enough until Moog fanatics attack the digital Osc‘s. If you get asked, just say its a Prophet. If they ask about the model, instantly call the cops.


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## KEM

I just wanna know what Ludwig used for this, someone has to know!!


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## darkogav

KEM said:


> I just wanna know what Ludwig used for this, someone has to know!!




looks like you can do it with a Moog


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## doctoremmet

darkogav said:


> looks like you can do it with a Moog



It wasn’t an actual Matriarch - which is kind of Kenneth’s real question


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## darkogav

doctoremmet said:


> It wasn’t an actual Matriarch - which is kind of Kenneth’s real question


In the DVD extras they had a segment film in (what I guess) is his studio, and in there was all kinds of modular equipment. It could have been some of that.


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## doctoremmet

darkogav said:


> In the DVD extras they had a segment film in (what I guess) is his studio, and in there was all kinds of modular equipment. It could have been some of that.


Makes a hell of a lot of sense!


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## darkogav

doctoremmet said:


> Makes a hell of a lot of sense!


Though I am pretty sure I saw Ableton on the screen of his iMac. But who knows what the segment was actually filming him doing. It was all narrated voice over dialogue. Good composer. I have been spinning that soundtrack regularly since I watched the film.


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## doctoremmet

darkogav said:


> Though I am pretty sure I saw Ableton on the screen of his iMac. But who knows what the segment was actually filming him doing. It was all narrated voice over dialogue. Good composer. I have been spinning that soundtrack regularly since I watched the film.


As have I. @KEM‘s enthusiasm for it worked! And I am an Ableton user as well haha, although I am also starting to use Cubase more.

Every time I see people use Live to its full potential I am reminded how good it actually is. Those videos Adam Neely did where he and a couple of friends compose and record an album in 24 hrs is a good example. I also like to watch Mr. Bill videos, just to get inspired.


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## doctoremmet

I have cool memories of watching this track being recorded during their live stream. (Sorry for the off-topic)!


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## KEM

darkogav said:


> Though I am pretty sure I saw Ableton on the screen of his iMac. But who knows what the segment was actually filming him doing. It was all narrated voice over dialogue. Good composer. I have been spinning that soundtrack regularly since I watched the film.





doctoremmet said:


> As have I. @KEM‘s enthusiasm for it worked! And I am an Ableton user as well haha, although I am also starting to use Cubase more.
> 
> Every time I see people use Live to its full potential I am reminded how good it actually is. Those videos Adam Neely did where he and a couple of friends compose and record an album in 24 hrs is a good example. I also like to watch Mr. Bill videos, just to get inspired.



Can’t beat TENET!! Ludwig uses a combination on Ableton and Cubase, and in that behind the scenes video you can see Hive opened up in Ableton. Could Freeport be Hive? Maybe, but I’m not sure…


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## cloudbuster

liquidlino said:


> Yes, I wonder if it's a mic-pre type final stage before output to give it a certain sound. I find putting mic-pre emulation plugins after synths makes them mix in much better. I'm geting a lot of mileage out of Analog Obsession plugs at the moment, they sound spectacular, especially when stacked on top of each other, hardly doing anything, other than adding their flavour.


+1
I mainly use Waves' TG12345 in M/S mode (or other channel strips) on each an every track and flip through my list of more or less subtle presets and adjust them here and there until everything sounds right in the mix.


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## Pier

KEM said:


> I just wanna know what Ludwig used for this, someone has to know!!


Could have been anything, really.

Hive into some pedal. Some Eurorack modules. Maybe a Moog. Even Zebra.

And don't forget this was then mixed and processes further.


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## KEM

Pier said:


> Could have been anything, really.
> 
> Hive into some pedal. Some Eurorack modules. Maybe a Moog. Even Zebra.
> 
> And don't forget this was then mixed and processes further.



Whenever I start working for Ludwig I will ask him


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## Pyro861

I have a massive obsession with synths. If I had to pick only one. I'd choose absynth as my vital serum.

Although, I may very well be a bottom of the barrel composer.


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## doctoremmet

Great pick.


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## Bee_Abney

Pyro861 said:


> I have a massive obsession with synths. If I had to pick only one. I'd choose absynth as my vital serum.
> 
> Although, I may very well be a bottom of the barrel composer.


That's definitely one of my favourite synths that I have yet can't design patches in!


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## KEM

Pyro861 said:


> I have a massive obsession with synths. If I had to pick only one. I'd choose absynth as my vital serum.
> 
> Although, I may very well be a bottom of the barrel composer.



But judging by your profile pic I know what your _real_ favorite synth is


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## Pier

Pyro861 said:


> I'd choose absynth as my vital serum.


I had to re-read that a couple of times 😂

(Vital and Serum are two other popular synths)


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## doctoremmet

Pier said:


> Vital and Serum are two other popular synths


What a *coincidence?!*


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## Pier

doctoremmet said:


> What a *coincidence?!*


Yeah I'm slow with puns!

😂


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## doctoremmet

Pier said:


> Yeah I'm slow with puns!
> 
> 😂


Dude. I got Phase Plant… via the subscription. Next up: Zebra - so I can finally purchase your sounds. Where could I find those?


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## KEM

Doc is finally gonna get Zebra, what a glorious day


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## doctoremmet

KEM said:


> Doc is finally gonna get Zebra, what a glorious day


✅ Dark Zebra!

This Is The Way


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## Bee_Abney

doctoremmet said:


> Dude. I got Phase Plant… via the subscription. Next up: Zebra - so I can finally purchase your sounds. Where could I find those?








Mercury - Sound Design







www.mercurysounddesign.com





Although I've had it a while, I'm still not on the Zebra train; but I've definitely been found lurking in and around the vicinity of the station.


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## KEM

doctoremmet said:


> ✅ Dark Zebra!
> 
> This Is The Way



Good, I’ve never even used Zebra 2 lol, ZebraHZ is the way to go!!


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## quickbrownf0x

Funny how Zimmer replied to this with some excellent advice about five pages ago (with pictures, I might add), saying how the most important thing is context/asking the 'why', and no one has mentioned it once.

Having said that, Zebra IS clearly the way. 

Anyway, back to listening to an overly compressed/sausaged version of the original Jurassic Park soundtrack, because @KEM says it sounds better and I'm trying to see if he has a point. So far - not convinced, though. My ears are starting to bleed.


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## KEM

quickbrownf0x said:


> Funny how Zimmer replied to this with some excellent advice about five pages ago (with pictures, I might add), saying how the most important thing is context/asking the 'why', and no one has mentioned it once.
> 
> Having said that, Zebra IS clearly the way.
> 
> Anyway, back to listening to an overly compressed/sausaged version of the original Jurassic Park soundtrack, because @KEM says it sounds better and I'm trying to see if he has a point. So far - not convinced, though. My ears are starting to bleed.



You got old man ears or somethin?!


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## quickbrownf0x

KEM said:


> You got old man ears or somethin?!


Definitely. From years of getting yelled at for apparently not knowing how to use a tube of toothpaste properly. I do, but there's just something funny about seeing my wife flail her little arms about when she's mad.


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## KEM

quickbrownf0x said:


> Definitely. From years of getting yelled at for apparently not knowing how to use a tube of toothpaste properly. I do, but there's just something funny about seeing my wife flail her little arms around when she's mad.



You gotta squeeze it all the way to the front come on man get it together!!


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## quickbrownf0x

KEM said:


> You gotta squeeze it all the way to the front come on man get it together!!


I'm trying, goddamnit!


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## KEM

quickbrownf0x said:


> I'm trying, goddamnit!



Don’t beat yourself up too hard, sometimes my mom still has to remind me to even brush my teeth in the first place


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## szczaw

They use top synths


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## quickbrownf0x

KEM said:


> Don’t beat yourself up too hard, sometimes my mom still has to remind me to even brush my teeth in the first place


Makes sense if you tell her you're saving up for Zebra3; once it's out you'll probably not leave the house for a while anyway.


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## KEM

quickbrownf0x said:


> Makes sense if you tell her you're saving up for Zebra3; once it's out you'll probably not leave the house for a while anyway.



I get Zebra3 for free…


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## quickbrownf0x

KEM said:


> I get Zebra3 for free…


Yeah well, when 8Dio releases their new Misfit Fiddle 3 in 2024 I get a 5% discount if I leave a lukewarm review on their website, so beat that.


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