It's an Ubuntu distro built by Paulo Coelho who did some great work building Carla, which I believe is an evolution of dssi-vst. Otherwise, you might want to give KXStudio a shot. If you're not partial to the OS you're using (unlikely for most people, I know), give it a shot on OSX. If you can give that a shot and get it to build and run MIDI to it, it's one of the easiest ways you can get things going. Some sibling comments have noted that you can built Dexed for Linux. This is a great question and I don't think I have a good answer. It pairs well, and fittingly, with the 80s and the 90s. You can make it lifelike, almost unsettlingly or cartoonishly so. If I can make a synesthetic analogy to a physical material, it's a lot like silicone. Yamaha's sibling OPL/OPN (YMxxxx) series is responsible for powering sound synthesis in the Sega Genesis, MSX, Sound Blaster and sound cards and arcade game systems of the 80s and 90s. (Matter of taste) It's really easy to get retro video game sounds, so composing with these instruments always triggers pleasant nostalgia for me, even if I'm not writing VGM. It uses a zoomable spline based UI that feels a little bit like using Illustrator's pen tool. (At least with FM8), The multipoint envelopes editor is as flexible as a DAWs automation curve editor. They sound sweet to the ear, and instead of using the full bandwidth of a sawtooth or square wave, you can use the first few partials (or a couple choice ones) to sketch out the idea of one without taking up all of the space the full thing would. Building instruments through sine wave decomposition/recomposition encourages bandwidth efficient sound design and instrument arrangements. Even for percussive instruments, you can tune and shape harmonic boundaries so that your instruments gel in the mix. There is little phase smearing or analog noise. You can use it to do reasonably convincing physical modeling of many real instruments (or at least the start of it) It's super CPU efficient on modern hardware, so you can use as many instances as you like. You’ll be tempted to keep boosting the reverb so just remember to reign it back a bit as it may cloud the mix.Ĭheck out James’ video, and head over to Zynaptiq’s website for full details.Other things I like about FM that I was just thinking about: To smooth out the sounds further you have a rather nice sounding reverb section with basic controls to get a nice sounding reverb immediately. Likewise, when moving the target from the top left hand corner (B) downwards in to A, the drums and pad blend in a different way again. The results are frankly astonishing and for sound designers, a real treat. However, moving the target on the vertical axis blends Mix B into Mix A (Drums into the pad). Moving the target from left to right (A to B) crossfades the sound just like a DJ mixer. This is where the fun stuff begins and sounds take on an entirely new character. The main part of the plugin is the XY morph index and crossfade. Next is Formants which shifts the formants up or down and then Complexity which alters the level of detail in the sound. In the processing section amp sense adjusts the maximum level of combined sound features. Just below you have a set of algorithms each giving different characteristics to the processing. You have a series of presets but to be honest, everything is so immediate, I see little use for them. The controls are simple but yield dramatic results. So in the plugin in the mixer section, you will have a pad on mix A and drums coming in on Mix B. Then on another track (let’s say drums on track 2), you send track 2 to the sidechain of the morph plugin on track one. You insert the VST3 plugin on a track (lets say a pad sound on track 1). From this research, other highly regarded morphing algorithms were developed such as the Prosoniq’s sonicWORX series of sample editors and the morphing synthesis engine in the Hartmann Neuron synth. The technology behind Morph goes back to the 80s where one of their scientists Stephan Bernsee created the world’s first audio morphing algorithm. MORPH by Zynaptic is a plugin that allows you to morph two input signals, and gradually shape one sound into the other which creates a transition with intermediate stages that have characteristics of both source sounds. In this article and video for Production Expert, James Parades takes a look at Zynaptiq MORPH 2 - a real-time plug-in for structural audio morphing, that opens up a whole new world of sounds exploration possibilities.
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