# Organic Sound Design



## M_Helder (Sep 13, 2022)

Edit: I've updated the thread title to include all types of synths, not just Zebra2. Everybody is welcome to chime in!

I was so inspired by @R. Naroth stunning work on covering the Dune soundtrack using exclusively Zebra2, that I finally decided to delve deep into this monster of a synth and master it inside out. After some noodling around, It proved to be especially adept at organic sound design and warm natural timbres. By “organic” I mean: recreating real world sounds or acoustic characteristics of an instrument/object (i.e. metal, foil, wood, glass, etc).

Although there are tons of tutorials on making typical FM growl basses (which are a bit stale by now, imho) and cinematic pulses, I didn’t find much info about creating real organic sounds similar to what we've heard in Hans Zimmer's "Dune" soundtrack, so I figured this thread could be it - the place to share and accumulate knowledge for those interested in this particular style of sound design.

We can exchange patches, comment on each others work, share techniques, tips to improve and explore new sonic dimensions inside Zebra2 together. Most importantly (as with all things 'synthesis') have fun doing it.

So I am calling all sound designers out there - share your favourite techniques, highlight your very own patches, showcase Zebra's power! Down with the dictatorship of monthly sample libraries I say, they’ve held our wallets hostage long enough.


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## M_Helder (Sep 13, 2022)

I’ll start.

Lately I was looking for a way to synthesize my own acoustic instruments inside Zebra in order to use it for hybrid scoring.

Here is a Solo Cello patch I made using a combination of some FM and Comb filtering techniques. Turns out, with just a right amount of FM you can get that bright metallic quality, which particularly lends itself well towards string instruments (and brass, I’d imagine). Following it up with a bit of Comb filter feedback helps solidify the organic texture and add some movement.

At this point, it sounds OK at C2 octave, but starts to get a bit weird at the C3 octave and above. Not sure how to fix that yet, probably something to do with FM. Also would be interesting to eventually turn it into some kind of an expressive all-in-one ‘performance’ patch with bread and butter articulations.

Thoughts?
View attachment Zebra2 - Solo Cello Test (Mono).mp3

View attachment Zebra2 - Solo Cello Test (Poly).mp3


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## Pier (Sep 13, 2022)

Check the Zebra Orchestra.






Corin Neff - The Zebra Orchestra


Buy The Zebra Orchestra here




esgalachoir.wixsite.com





Also:






Physical Modelling Trumpet in Zebra2


Hey guys, here's a trumpet patch I've been working on. Hope you enjoy it! I would love some feedback! P.S. I took some inspiration from the Eugene Latsko trombone-patch, mostly on the reverb. Shout-out to him for making that great sounding patch!




vi-control.net





Personally I'm not very interested in making real instruments with Zebra, but using the comb filter and some distortion you can get very realistic string-like results.


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## M_Helder (Sep 13, 2022)

Pier said:


> Check the Zebra Orchestra.
> 
> 
> 
> ...


Thanks, Pier!

Great soundbank, but the idea is to learn to make my own stuff, not use commercially available presets.

Also that trumpet is fire, looking forward to reverse engineering it. Downloading.


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## Pier (Sep 13, 2022)

M_Helder said:


> Great soundbank, but the idea is to learn to make my own stuff, not use commercially available presets.


Of course, I only shared it because I thought you might be interested in studying the presets. It touches so much stuff (strings, brass, woodwinds, percussion, etc).


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## M_Helder (Sep 13, 2022)

Pier said:


> Of course, I only shared it because I thought you might be interested in studying the presets. It touches so much stuff (strings, brass, woodwinds, percussion, etc).


Thanks for putting it on my radar. 

I've actually already added it to my 'Black Friday spree' along with Dark Zebra


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## Pier (Sep 13, 2022)

M_Helder said:


> I've actually already added it to my 'Black Friday spree' along with Dark Zebra


Well the bad news is I seriously doubt U-He will put Dark Zebra on sale this BF.

In part because U-He doesn't do sales very often, but specially because Dark Zebra will disappear as a product in the upcoming months. Zebra 2 + Dark Zebra will become Zebra Legacy in anticipation of the release of Zebra 3 probably in 2023.

The good news is, if you do buy Dark Zebra now, you will get Zebra 3 for free when it's released


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## M_Helder (Sep 13, 2022)

Pier said:


> In part because U-He doesn't do sales very often, but specially because Dark Zebra will disappear as a product in the upcoming months. Zebra 2 + Dark Zebra will become Zebra Legacy in anticipation of the release of Zebra 3 probably in 2023.


I see, thanks for the heads up.
I did a little more digging and according to this u-he thread it appears that there are three options:

- Owners of Zebra2 get ZLegacy (DZ included) and can upgrade to Zebra3 for 30$.
- Owners of Zebra2 + DZ get ZLegacy and Zebra3 for free on release.
- Owners of ZLegacy that bought the product brand new get no upgrade path to Zebra3 and need to pay the full price.

So, basically I can just wait and get Dark Zebra for free instead of the current 99$ price and pay 30$ for the upgrade to Zebra3. U-he generosity never ceases to amaze me.


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## Pier (Sep 13, 2022)

M_Helder said:


> I see, thanks for the heads up.
> I did a little more digging and according to this u-he thread it appears that there are three options:
> 
> - Owners of Zebra2 get ZLegacy (DZ included) and can upgrade to Zebra3 for 30$.
> ...


Huh I wasn't aware of the first option!


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## R. Naroth (Sep 13, 2022)

M_Helder said:


> I’ll start.
> 
> Lately I was looking for a way to synthesize my own acoustic instruments inside Zebra in order to use it for hybrid scoring.
> 
> ...


The cello sounds fantastic!! It is quite hard to get an instrument emulation work well in all octaves. If you are after acoustic emulations, the resonator module can really help bring out certain characteristics. It can be a bit tricky to use though. As @Pier pointed out, there is nothing out there like Zebra’s Comb filter for Physical modeling. For woodwinds, use a triangle wave and add sync for a nice starting point. All the best! 😊


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## M_Helder (Sep 14, 2022)

R. Naroth said:


> The cello sounds fantastic!! For woodwinds, use a triangle wave and add sync for a nice starting point. All the best! 😊


Thank you very much! It still needs quite a bit of work in expression department, but at least the main timbre is there.

Oh, thanks for the tip! That’s exactly what I needed.


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## lychee (Sep 14, 2022)

Nice base for your cello, congratulations, maybe a bit of work to do on the attack and adding bow noise would be good (well if the goal is to make it realistic).

Over the past few months I have been trying to find out which synth would be the most appropriate for this kind of exercise.
Unlike a large majority of people on this forum (or even everyone), I believe in the possibility of recreating a realistic "acoustic" instrument in our traditional synths.
I haven't yet found a definitive answer to my quest.

Yes, there are Chromaphone-type synths with which you can do great things, but I'm looking for a product on which I can control the entire creative process from the ground up.

My research has focused on additive resynthesis or modal synthesis (or a mixture of both).
Is this Zebra2 capable of all this?


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## Tusker (Sep 14, 2022)

Zebra doesn’t do additive resynthesis as in Alchemy or (directly) modal synthesis as in Prism. The resonators in Zebra HZ are great for shaping body resonances however and each comb filter can be thought of as single tunable mode, I think. If you accept that comparison, Zebra tales more work but in many ways offers a finer paint brush than the techniques you mention. I love the features you mention in Logic and Prism. They complement Zebra very well.


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## Pier (Sep 14, 2022)

lychee said:


> My research has focused on additive resynthesis or modal synthesis (or a mixture of both).
> Is this Zebra2 capable of all this?


You're probably looking for MSoundFactory not Zebra.


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## Pier (Sep 14, 2022)

Tusker said:


> Zebra doesn’t do additive resynthesis as in Alchemy or (directly) modal synthesis as in Prism.


True but it does have additive oscillators with the SpectroMorph and the SpectroBlend oscillator modes.

The pain is that there's no way (AFAIK) to set up the partials from a sound source or even a math formula. Maybe Zebra 3 will include that.

From the manual:


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## lychee (Sep 16, 2022)

Thanks for those tips Tusker and Pier.

I don't have a Mac, so I can't get Alchemy (too bad, this plugin is very cool).
On the other hand I have Prism, I never really used this instrument because it runs on Reaktor and that at the time Reaktor made my machine suffer.
Since then I've changed my computer but even if Prism does the job I'm looking to do, I'm looking for a plugin that allows me to recreate everything from scratch, I want to build everything to be able to control everything.

Indeed MSoundFactory is very similar to what I'm looking for (doctoremmet will trap me again in one of his plugins ), the possibility of capturing the timbre of an instrument, having this timbre resonate with another material, that's basically the idea.
Example: create a breathy sound, run it through a resonant filter captured from a flute, and make some adjustments to recreate the original instrument down to the smallest detail.
The problem is the program interface, too many menus and submenus that it becomes unreadable for me.
I'm sure I'm going to have suicidal thoughts working on this. 
I hope you have other alternatives to offer me, but I'm keeping this option handy, especially since the plugin is 50% off right now.

M_Helder sorry for taking your thread a bit off topic, but I think you should direct it to something broader, a thread about creating "acoustic" sounds on all synths and not just Zebra.
Because I think each patch can be explained and transcribed for all synths.


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## DANIELE (Sep 16, 2022)

Wow, I was just thinking about opening a thread like this. I'm interested in the same things as the opener. I'm playing with other synths too but Zebra is special.

I'm just studying the comb filter to master it and doing some emulation of real instruments. This is only a starting point to then going deep in the synth realm.

I'm building a lot of patches to have a sort of palette that I can use in my future tracks. And, as you, I want to build my own sounds. Presets you like are very useful to see how to build specific type of sounds by reverse engineering them.


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## M_Helder (Sep 16, 2022)

lychee said:


> Nice base for your cello, congratulations, maybe a bit of work to do on the attack and adding bow noise would be good (well if the goal is to make it realistic).


Thanks for the tip. That is indeed the goal 

I'll start tweaking it right away.


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## M_Helder (Sep 16, 2022)

lychee said:


> M_Helder sorry for taking your thread a bit off topic, but I think you should direct it to something broader, a thread about creating "acoustic" sounds on all synths and not just Zebra.
> Because I think each patch can be explained and transcribed for all synths.


No worries, I actually think that is a good idea. Just wasn't sure there was much interest for this kind of sound design style, pretty niche thing after all.

Thanks for the tips @Pier and @Tusker , i've never tried Prism so can't comment on it. MSoundFactory seemed very capable when I played with it, but the UI is an eyesore personally, so I decided to stick with just one synth for the time being 

Keep 'em coming!


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## TrojakEW (Sep 16, 2022)

M_Helder said:


> I’ll start.
> 
> Lately I was looking for a way to synthesize my own acoustic instruments inside Zebra in order to use it for hybrid scoring.
> 
> ...


Really good base for cello.

I do experiment with creating organic sounding patches using synth but my approach is different. By different I mean that I'm not trying to "emulate" real instruments but rather apply behavior of real instruments to the synth sound. So I'm not really going for certain timbre of real instruments. It is more like I rather spend more time on basic dynamics. Biggest and most important aspect for me are changes depending on velocity and note range of instrument. So if for example if I'm going for "piano" sound, I'm trying the set note attack based what I hear on real or sampled piano. Envelope settings for instrument is really important and first step for me in building the preset. Next step is to set how dynamic range affect timbre but also again basic envelope changes. This means I'm not depended on Physical modelling synthesis and can use any type of synthesis, so I can use any synth. Result are not emulation but rather said more organic sounding synth presets. I hope so. Just by applying those basic principles it is not hard go for for certain type of sounds. I do not have any special approach in sound design. I have chosen the simplest way that sometimes lead to interesting results without any super sound design skills.

Few examples. Everything is one synth there. Name of synth in track name.


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## Tusker (Sep 16, 2022)

M_Helder said:


> i've never tried Prism so can't comment on it.


TLDR Prism is very good at some things, but it isn't encyclopedic.

I would say that Prism is much better at plucked, struck and ambient sounds than it is at bowed or blown sounds. It's a Karplus Strong - ish approach where an exciter (noise or impulse) begins the sound, but the fun is in how it re-"echoes" downstream through the modal bank. This means that brass baps, delicate oboes and noble horns (for example) are tricker to dial in than cavernous caves and alien plucked strings. I have not tried the Prism EFX which yields the benefit of the modal bank to ANY sound source. Conceivably there are more bowed and blown sounds to be had by mating a different front end (Zebra?) to the modal bank.


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## Pier (Sep 16, 2022)

lychee said:


> The problem is the program interface, too many menus and submenus that it becomes unreadable for me.
> I'm sure I'm going to have suicidal thoughts working on this.


It's really not as bad as that 

I agree Melda UIs are rough on the eyes, but they are very usable and make perfect sense after a bit of tinkering.


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## lychee (Sep 17, 2022)

Pier said:


> It's really not as bad as that
> 
> I agree Melda UIs are rough on the eyes, but they are very usable and make perfect sense after a bit of tinkering.


I like the concept of being able to take an "additive photo" of an existing sound and avoid looking for the partials one by one corresponding to the sound you are looking for.
This is mainly what interests me in MSoundFactory, and as said above it is at 50% for another day and a half, which is not negligible although I don't like its interface.

I'm also interested in Phaseplant, which even if it doesn't have this "photo" function, you can still easily and manually define the desired partials based on a sample (but it requires 2 software, Phaseplant + Slice Eq):



And also, I've seen a lot of crazy patch demos, where guys recreate sounds of an helicopter, race car... very realistic, which shows me the great possibilities of the Kilohearts plugin.





So here it is, I have little time left to choose, and I am listening to other suggestions from you if you have any.


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## lychee (Sep 17, 2022)

I just discovered a new video on the Youtube channel of Joel Blanco Berg, the author of the two technical feats on Phasplant from my previous post:



It would be cool if he was on this forum to give us some tips.


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## Marcus Millfield (Sep 17, 2022)

Also check the YouTube channel of Cinematic Alpha. VI-C member @andrewfly made some videos using Reasons Fricktion and Vital to create his own versions of acoustic instruments. They sound really good:



https://youtube.com/c/CinematicAlpha


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## Pier (Sep 17, 2022)

lychee said:


> I like the concept of being able to take an "additive photo" of an existing sound and avoid looking for the partials one by one corresponding to the sound you are looking for.
> This is mainly what interests me in MSoundFactory, and as said above it is at 50% for another day and a half, which is not negligible although I don't like its interface.
> 
> I'm also interested in Phaseplant, which even if it doesn't have this "photo" function, you can still easily and manually define the desired partials based on a sample (but it requires 2 software, Phaseplant + Slice Eq):
> ...



I love PhasePlant as much as anyone but I think MSoundFactory is really the better tool here.

For now at least, PhasePlant doesn't have an additive oscillator. Another point is that using the Slice EQ for modal synthesis (not the same as additive synthesis) means you will need one full blow EQ per voice. You can enable that with the POLY button of the fx lanes but it might be heavy in terms of CPU. You'd also miss the audio file analyze feature.

This might not be relevant for this type of stuff, but the effects of MSF are really on another level in terms of quality and variety.

Edit:

That said, if you have any interest in distributing your presets, PhasePlant might be a much better option. It's more popular and much more user friendly as far as browsing presets.

People can play MSF presets with the free player, which is a big advantage, but they'll have to go through the Melda installer etc.

As much as I love MSF it became pretty clear it's not a great platform for distributing content.


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## lychee (Sep 18, 2022)

Pier said:


> I love PhasePlant as much as anyone but I think MSoundFactory is really the better tool here.
> 
> For now at least, PhasePlant doesn't have an additive oscillator. Another point is that using the Slice EQ for modal synthesis (not the same as additive synthesis) means you will need one full blow EQ per voice. You can enable that with the POLY button of the fx lanes but it might be heavy in terms of CPU. You'd also miss the audio file analyze feature.
> 
> This might not be relevant for this type of stuff, but the effects of MSF are really on another level in terms of quality and variety.





Pier said:


> That said, if you have any interest in distributing your presets, PhasePlant might be a much better option. It's more popular and much more user friendly as far as browsing presets.
> 
> As much as I love MSF it became pretty clear it's not a great platform for distributing content.


Omg thank you so much for your advice... but I hate you ! (just kidding ).
Now I don't know what to do anymore, the pros and cons put the two software on an equal footing.
And on top of it, I have the MSoundFactory discount coming to an end in a few hours, the pressure is on.


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## Pier (Sep 18, 2022)

lychee said:


> I have the MSoundFactory discount coming to an end in a few hours, the pressure is on.


More discounts will come, don't worry about it.

And if not, there's always Knobcloud.


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## Tusker (Sep 18, 2022)

I think it’s a trade-off between sounding like an organic instrument and behaving like an organic instrument. Resynthesis promises limitless power by rearranging partials how we want, but at least in my experience with Alchemy, the results don’t behave in an organic way. The sound is more dependent on the original sample and so we users will tend to use less organic DSP systems downstream of the initial snapshot, so as not to damage the initial sound. Alchemy does have some karplus strong DSP you can use, ( called physical modeling filters) but the most dynamic results ironically come from using single cycle waveforms and noise, much as you would with Zebra. What resynthesis is very good at, at least for me, is sound design, not instrument design. I would recommend Alchemy to anyone as a uber-powerful synth in it’s own right but it’s resynthesis facility doesn’t add as much value to the physical modeling tools as one might expect. Of course that could be due to my lack of imagination as a programmer. 🙏


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## DANIELE (Sep 18, 2022)

I'm looking at tons of tutorials. I was able to replicate a good percussion sound in Dark Zebra.

I also have MSoundFactory but I didn't had the time to play a lot with it. Do you guys have some advices to replicate:


A strings sound (I mean like bowed cellos spiccatos and longs);
Flutes like sound;
Brass like sound.
??

Thank you.

EDIT

What if I would like to emulate a wasp like buzzing sound instead?


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## lychee (Sep 20, 2022)

Well, I finally fell for MSoundFacory, a bit of time to understand the interface and I could come back here to share my experiences.



DANIELE said:


> I'm looking at tons of tutorials. I was able to replicate a good percussion sound in Dark Zebra.
> 
> I also have MSoundFactory but I didn't had the time to play a lot with it. Do you guys have some advices to replicate:
> 
> ...



I haven't found a tutorial for Zebra, but I have this for the Melda's plugin, but it's probably possible to transcribe it to other synths:







Sorry, I couldn't find any bow sounds, but asks M_Helder for his patch.


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## DANIELE (Sep 20, 2022)

lychee said:


> Well, I finally fell for MSoundFacory, a bit of time to understand the interface and I could come back here to share my experiences.
> 
> 
> 
> ...



Thank you for the links, I'll watch them for sure. I think I already whatched them in the past, I don't remember actually.

As I said I'm building some patches to use them in my music and I'm trying many synthesizers even if I found myself often coming back to Zebra.

The thing I'm looking for is some deep explanation about how to build an organic/acoustic-like sounds from scratch. I don't want to replicate the instruments I want to emulate an acoustic/organic behavior.

I need some kind of guide about the spectrum of various instruments just to build them starting from a saw or maybe pure noise.
I mean, something like: if you set your partials like this you'll get that sound. I know that acoustic instruments are very complex things because you have to take in account the inharmonic content too and also the fact that the spectrum evolves and moves while you play but I would like to know a pretty good approximation.

For example, by doing reverse engineering of the Zebra Orchestra or some Dark Zebra patches I found a really interestin usage of the mseg curves by shaping the attacks in really fancy ways.

I started to look at the first video you posted and there he uses another method to get a brassy sound (pretty interesting anyway).


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## lychee (Sep 20, 2022)

DANIELE said:


> Thank you for the links, I'll watch them for sure. I think I already whatched them in the past, I don't remember actually.
> 
> As I said I'm building some patches to use them in my music and I'm trying many synthesizers even if I found myself often coming back to Zebra.
> 
> ...


Your idea of a waveform dictionary is exellent, and it is possible to know what the waveform of an instrument looks like just by zooming in on a sample of it.
Yes, the first video goes in your direction, it starts from a sinusoid, and with a small transformation of the waveform, we already have a brass sound in 2 seconds.This is certainly not a video on "what does the waveform of this or that instrument look like?" but the first gives us this answer concerning the brass instruments.While testing MSoundFactory I also played with the waveforms and I think a saxophone is based on a transformed square.

I'm amazed that knowing this and with synthesizers as complex as those of today, few people had the idea to create really realistic instruments on this basis.
Everyone prefers to create a new type of sound with synthesis and next to that we use sample libraries that are computationally cumbersome and difficult to express, whereas I am sure that we can do both pure synthesis and realistic instruments convincing and expressive with the first.
How come there haven't been more initiatives like this for all these years?


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## R. Naroth (Sep 21, 2022)

@hdale posted a fantastic trumpet Zebra patch a while ago. 
https://vi-control.net/community/threads/physical-modelling-trumpet-in-zebra2.101038/


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## DANIELE (Sep 22, 2022)

R. Naroth said:


> @hdale posted a fantastic trumpet Zebra patch a while ago.
> https://vi-control.net/community/threads/physical-modelling-trumpet-in-zebra2.101038/


Thank you @R. Naroth . You are a big source of inspiration for me.

I'll look at it for sure, maybe some reverse engineering would be useful.

The thing that Zebra lacks a bit, is some kind of visual feedback of what you are doing, I hope that Zebra 3 will feature this kind of function.

Even if without a reference of what you would get by manipulating the harmonics it is not so usefull for my purposes.


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## grabauf (Sep 22, 2022)

I just stumbled upon a fantastic new Zebra 2 soundset by Jan Morgenstern: AERA
It's a treasure chest full of organic sounds, just like his first set ISLA


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## lychee (Sep 22, 2022)

Less talk more action:


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## lychee (Sep 27, 2022)

M_Helder said:


> Here is a Solo Cello patch I made using a combination of some FM and Comb filtering techniques. Turns out, with just a right amount of FM you can get that bright metallic quality, which particularly lends itself well towards string instruments (and brass, I’d imagine). Following it up with a bit of Comb filter feedback helps solidify the organic texture and add some movement.


Thank you for sharing your file, but not having Zebra, I was wondering if it would be possible for you to describe in detail your process for creating this sound?



M_Helder said:


> At this point, it sounds OK at C2 octave, but starts to get a bit weird at the C3 octave and above. Not sure how to fix that yet, probably something to do with FM. Also would be interesting to eventually turn it into some kind of an expressive all-in-one ‘performance’ patch with bread and butter articulations.


A cello has four strings, each not only sounding a different pitch but also made differently.
That is to say that the sound must change at least four different ways as we go from the lowest note to the highest.
I learned that with Reason Friktion, there is a "violin" and "cello" parameter that changes the sound in the way I just described.
I couldn't describe in detail what it does to the sound, but all I've noticed is that the lower tones are duller and the high notes brighter, with a four step jump.
I don't know if it could help you?


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## TrojakEW (Sep 27, 2022)

M_Helder said:


> At this point, it sounds OK at C2 octave, but starts to get a bit weird at the C3 octave and above. Not sure how to fix that yet, probably something to do with FM. Also would be interesting to eventually turn it into some kind of an expressive all-in-one ‘performance’ patch with bread and butter articulations.


Tweak amount of FM or other settings until it will sound good for C3, and then apply keytrack modulation to all those controlls, tweak keytrack so it will apply correct value based on note.


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## lychee (Sep 27, 2022)

This Zebra Aera and the Phaseplant patches above show once again that our current synths are perfectly capable of recreating an acoustic instrument or other organic sounds.
It is enough just to know what the sounds of the said instruments are made of and to imitate them as closely as possible.
The advantage here is that we don't have to worry about these stories of layers of dynamics / velocities, round robin... everything can be transformed in real time, and apart from a possible high CPU consumption, it does not weigh 50 gigas in SSD / HDD.


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## muratkayi (Oct 7, 2022)

Hi,

Wonderful thread!
I must say my weapon of choice is Prism (though the Dannenberg ensembles in the Reaktor user library as well as other Reaktor ensembles generally show how capable Reaktor is for diving deep into this whole territory).

For fun check out the Viola da Gamba, I put together in Prism. I like that you can easily keymap expressive parameters and also by the twist of a knob send the whole instrument into space.
The other file is a real viola da Gamba duet where I just tried to stealth sneak my fresh Frankenstein (it lives, mwahahaha) into the recording to see wether the sound can pull of a bit of mimicry. You'll hear me cluelessly fumbling my way through the Gavotte like an uninvited guest at a dinner party of two, but the sound is nice, I think.


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## Kevperry777 (Oct 7, 2022)

lychee said:


> Less talk more action:



Some great sounds here! That intersection patch is just awesome.


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## lychee (Oct 8, 2022)

Ooops, he did it again! 😮





Mr. Joel Blanco Berg if you are among us, please tell us your secrets!


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## lychee (Oct 8, 2022)

I discovered a video tutorial in the same style as the one on brass design on MSoundfactory, but this time on Vital.
The designer offers his patch directly on his Youtube channel:



Edit: And apparently it doesn't just stop with brass.



https://www.youtube.com/user/EricBowman25/videos


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## lychee (Oct 24, 2022)

I did a little experiment to see if the theory I had in mind turns out to be workable in practice.

I took on the net a sound of bow noise that I wanted to pass through a modal filter then at the end of the chain put an body IR.
The goal was to attempt to recreate the sound of the strings.
But after reviewing some videos on MSoundfactory, I discovered that the resonator was better than the modal filter for this exercise.

After a few adjustments I'm surprised with the result and didn't expect to be so close to the target.
What do you think?:

View attachment Melda String Text.mp3


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## Pier (Oct 30, 2022)

I made this preset for Zebra which reminded me of this thread.

I have no use it for it.. so here it is. It's a good starting point for an ocarina or some kind of wind instrument.

View attachment Spirit animal.mp3


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## Alchemedia (Oct 30, 2022)

Pier said:


> Check the Zebra Orchestra.
> Personally I'm not very interested in making real instruments with Zebra, but using the comb filter and some distortion you can get very realistic string-like results.


What kinda zoo are you running anyway?


Pier said:


> I made this preset for Zebra which reminded me of this thread.
> 
> I have no use it for it.. so here it is. It's a good starting point for an ocarina or some kind of wind instrument.
> 
> View attachment Spirit animal.mp3



"You know anything about a man going around playing the harmonica? He's somebody you'd remember. Instead of talking, he plays. And when he better play, he talks."


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## Pier (Oct 30, 2022)

Alchemedia said:


> What kinda zoo are you running anyway?
> 
> 
> "You know anything about a man going around playing the harmonica? He's somebody you'd remember. Instead of talking, he plays. And when he better play, he talks."


I really just stumble upon these sounds!


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## R. Naroth (Nov 2, 2022)

Youtube recommended this video to me today.. Hard to follow half of it and even figure out how to program a synth based on the ideas. Interesting talk nonetheless.


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