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The Dawesome Thread - Abyss, Novum, Kult, Love discussion. New synth - Myth (April 18!)

sostenuto said:
Luv Objeq Delay since intro ! Supermodal seems to bring strong set of rad content not noted elsewhere.

THX !
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I've got Supermodal, Filterverse and Gatekeeper, and they're all best in class. If I could only figure out how to get individual enevelopes in GK to respond to individual notes, and S1 allowed CC routing, I'd be golden.
Objeq Delay is a delight, and having it in CV-2 is a compelling selling point, to cross referance another thread.
 
Akoustecx said:
Two spring to mind, both of them superb.
Objeq Delay is, obviously, a delay, but you can turn off the feedback and use it purely as a resonator. Probably worth checking Knobcloud and the like, as it was given away as a freebie at one point, so there may be some cheap licenses available, though why anyone wouldn't want to keep a hold of it is beyond me!
Supermodal is incredible. The way you can smoothly modulate between models allows creative filtering that isn't like anything else in my collection. Top notch stuff, as is their latest, Filterverse.
Perhaps if we all ask nicely @Peter V will release it as a standalone, and if we ask really nicely perhaps he'll add the Resonator to Love. Here's my go "Pretty, pretty please, with sugared almonds ontop!"
polyversemusic.com

Supermodal

Supermodal uses hundreds of resonating filters to emulate the behavior of various resonating bodies. It contains 27 different filter models ranging from acoustic to synth-style to mathematical to special effects.
polyversemusic.com polyversemusic.com

AAS Objeq Delay VST AU AAX

Objeq Delay is the best acoustic filter and delay plug-in in VST, Audio Units (AU), and AAX formats for Reason, Live, Logic Pro, Pro Tools, Cubase, Reaper, Sonar, FL Studio, and many more. Try Objeq Delay for free.
www.applied-acoustics.com www.applied-acoustics.com
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I have both of those and they both worth having :) Definitely will put in a feature request or whatever to Peter@dawesome for a standlaone fx unit
 
Akoustecx said:
I've got Supermodal, Filterverse and Gatekeeper, and they're all best in class. If I could only figure out how to get individual enevelopes in GK to respond to individual notes, and S1 allowed CC routing, I'd be golden.
Objeq Delay is a delight, and having it in CV-2 is a compelling selling point, to cross referance another thread.
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GK has a midi mode where you can assign individual midi notes to each of the 8 envelopes. But I also struggle to get that to work how I expect it too
 
yydr_cc said:
I have both of those and they both worth having :) Definitely will put in a feature request or whatever to Peter@dawesome for a standlaone fx unit
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If you've got Reason, then you should also take a look at Objekt. It is both Model synth and Effect, and the reason I upgraded from Lite. Friktion is another great reason to have Reason (sorry), and one day I will fulfill my desire to run Friktion into Objekt, and then into Objeq, just to make sure people are paying attention.
 
Akoustecx said:
If you've got Reason, then you should also take a look at Objekt. It is both Model synth and Effect, and the reason I upgraded from Lite. Friktion is another great reason to have Reason (sorry), and one day I will fulfill my desire to run Friktion into Objekt, and then into Objeq, just to make sure people are paying attention.
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I always forget I have Objekt - it is a great effect/synth. I will check out Friktion, had not heard of that
 
yydr_cc said:
GK has a midi mode where you can assign individual midi notes to each of the 8 envelopes. But I also struggle to get that to work how I expect it too
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I've spent a good few hours trying to get this to work. I can get all active envelopes responding to MIDI, but not one note/one envelope. I have managed to fudge it by disabling/enabling envelopes using automation, but I have an ill advised idea to try and get back to live performance, and that 'aint going to cut it. Time to take advantage of their support, and if they can't make it more clear than do in their vids, then I will hunt them down and play them Saturday night by Whigfield on repeat. It's only fair.
 
yydr_cc said:
I will check out Friktion, had not heard of that
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Friktion is a specialist bowed/plucked string modeller that can step outside it's remit, to a certain extent. Friktion competes with AAS VS-3, Objekt competes with Chromaphone 3, I'm still enjoying, without a semblance of success, to rate them relative to one another.
 
Akoustecx said:
I've spent a good few hours trying to get this to work. I can get all active envelopes responding to MIDI, but not one note/one envelope. I have managed to fudge it by disabling/enabling envelopes using automation, but I have an ill advised idea to try and get back to live performance, and that 'aint going to cut it. Time to take advantage of their support, and if they can't make it more clear than do in their vids, then I will hunt them down and play them Saturday night by Whigfield on repeat. It's only fair.
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I just got it to work in Reaper using a sperate track for each of gatekeeper, riffer (driving the midi to gatekeeper) and a noise vst track being sent to the gatekeeper track. If I double up any of them on a track it doesn't work
 
yydr_cc said:
I most like the modal filter in Myth - I would buy it as s standalone effect. Is there anything like that (ie resynthesis) available as a vst?
I am wondering if Zynaptiq's UNFILTER might work?
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This one looks like it's where all the quasi-physical modelling stuff is, right?

Either way, thanks for pointing me to it. You could just use that module alone and have a very nice time.

So far my learning with the demo is you need to find the bits of it that call to you and focus on them as there's so much going on here.

Currently enjoying chucking entire songs into it and seeing what the resynthesis thing does.
 
yydr_cc said:
just going to hijack this thread to say I have my Tracktion account for sale at the moment. I bought a few Dawesomes and to be honest never got into them, they always sounded too polished for me, lol, I only have Abyss left, Tracktion used to allow individual sales but now they only allow complete account takeovers. Gotta say Kult, Abyss etc at 49$ is an amazing deal - I did not like them, personal taste, but they are obviously really good synths and at that price they are a steal
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How much are you looking for abyss?
 
does anyone know how long a sample can be for the IRIS to resynthesise from start to finish? What I would like to hear is what the resynthesis is doing to complex samples. For example a sample of someone counting up to ten - what are the settings that most accurately reproduce that counting. I am struggling to get that and I would like to have that starting point from which to learn the downstream processing
 
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Well if nothing else, this one is proving to be a conversation starter!

The Sound Author video has some interesting pushback on some of the criticims that the synth has gotten, including showing how to tame the resynthesis engines. It seems the main critique from some users (including in the video in my last post) is that resynthsis is perhaps sold as the key element of the synth (plus it is the main visual element of the synth). But that the results of this are perhaps not as musical as they thought it would be on its own.

The livestream was very helpful. I kinda appreciated how Peter pointed out that Myth is not a sample player, and if you want that simplicity you probably need Novum, and there's no shade on anyone who prefers that. Personally I may land in that camp. But this clears up a few things which is very helpful.

After reviewing more videos and comments, I got the feeling I'd been looking at it the wrong way potentially. So you have your sample becoming almost both an organic oscillator and also an LFO where there's differences in texture and timbre. This is that point about not starting with a boring sine wave and having to work hard to create interest in it. That interest is potentially already there which saves time. That said the follow on process with LFOs, Math and so on can be very complex. But what really matters then is how you use that interesting basis sample to excite the remainder of the synth and that's where the strengths and possibilities come in. There’s the modifiers which is its own thing (again I see that as hit or miss), but then there’s all the nice tones from physical modelling especially and the various filters which is where it really shines for me.

As a balanced pov, I find many other synths challenging for making my own patches, with the exception of very simple old school synths like Model 80 etc. I feel like this is a synth where you don’t go in with an idea and you let it take you where it goes through play. However, I find it a little less easy to wrap my head around than Abyss & Novum. But in general, I find Dawesome synths, (even one this complex) a bit easier to use than say a synth like Zebra. If there’s a small downside, I feel in control to a degree in Novum that I don’t in Myth. However I don’t feel like I ever need to get the manual out with Dawesome synths. With other synths I just can’t get my head into the game and I return to presets, which is fine in my book. I guess when it comes to sound designing, that yey/nay feeling you have with the interface really matters. I know lots of people who learned on Zebra or Reaktor and love it. Like DAWs I have a feeling that what you learn on is what you like.

So mixed feelings here, but I think the info that’s come out the last few days has helped tell the story of where the synth fits in. I’m not completely sold, but I feel I understand its purpose.

Also if could offer a piece of feedback here also, I would love to see (now that we have a full suite of Dawesome synths) some updates and love for the existing plugins.
 
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After a week of working exclusively with Myth, I do not think that I will be buying it at its current price (I can get it for £90).

I have grown to like it a lot more than my initial impression of it (I uninstalled it after two days then decided to give it a second chance) but I don't think it adds enough to what I have already.

I do wish some of the filters and effects would find their way into Dawesome's other synths, but he does not have a history of adding much to a product once released.

On the Iris resynthesis results, I have found that dropping in a WAV, manipulating it with the resonators etc then dropping the results back in for further resynthesis (using the facility on the bottom left of the GUI) can produce more pleasing/workable results for my purposes (this is something I do often with the resynthesis in Tone2's Icarus).
 
I've only had a short time playing with Myth but it's the first Dawesome synth I've really clicked with.

The two osc's are somewhat unwieldy/unusual which I like, and I'm still navigating them but really enjoying the dissonant sounds they produce. I'm not too bothered about the re-synthesis engine but will try that at some point -- its great to have the multistage envelope / LFO.
 
I think Myth was marketed and presented weirdly.

It's more of a semi modular synth but the emphasis and UI real estate has been very focused on the Iris resynthesis.

You can build a fully functional patch with both Irises turned off.

The Iris has more temporal and textural use than being a straight up synth voice. Each Iris is effectively a four "voice" generator with each voice having a 512 stage MSEG.

You can make a fairly solid six oscillator subtractive synth or multiple physical modelling synth without ever even touching the Irises.

It also has regular FM, RM, AM, a whole array of distortion and saturation algos, plenty of utilities for routing, output processing. It's very comprehenice.

Putting textured samples like foley into the Irises and then driving that through the modal filter and adding the weird and wonderful FM processors BTTF and Orbit brings you to places few other synths will get you.

I like Myth because you can embue the synth with an organic character from the Irises. The modulation system is pretty much endless and the math modulator is ingenious.

It allows you to use the same modulator but alter its properties by scaling it, offsetting it or adding noise/randomness to it. It's a great way to have coherent modulation but with good variability within that.

The arp section is also really great and the FX are beautiful.

It's an extremely powerful synth but very approachable and a lot of fun once you get around its particular foibles.
 
avid_d said:
After a week of working exclusively with Myth, I do not think that I will be buying it at its current price (I can get it for £90).
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After another week of working with Myth I caved.

I have to be really careful about how I build a patch, else the CPU on my PC can go through the roof, but I have been able to make some sounds I like which I would find it very hard to create with other synths I own (that may well be down to an absence of skills on my part).

Personally, whilst one can build sounds without using the Iris, I find it a far less interesting synth used that way and not worth purchasing. I am still clueless as to being able to predict what the resynthesis engine within the Iris will turn a sample into, but I am getting better at working out how to use the result (or whether to discard it immediately).

I am merely a hobbyist, with too much time on my hands and that may be the reason that I have concluded that Myth is worth buying.
 
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