![]() Upon opening up a preset, the very first thing you’ll want to do is: look at ALL the ‘Oscillators In-Use’ (which includes the ‘Sub’ and ‘Noise’ Oscillators). STEP 1: CHECK THE WAVETABLE ASSESSING OUR OSCILLATORS.Change the ‘WT Pos’ knob to a ‘saw wave,’ and scrupulously listen to how it affects the sound. ![]() Now, listen to what that preset sounds like as a standard sine-wave. Go to your wavetables and open up ‘Basic Shapes’. Also, turn off either oscillator A or oscillator B (so only one remains active) listen to that sound, and remember it’s characteristics. Turn the sub-oscillator and noise-oscillator (if enabled) OFF. LET’S DO A LITTLE EXPERIMENT IN AN ATTEMPT TO BETTER UNDERSTAND ‘TIMBRE’:.NOTE: This does NOT mean that any/every sound was created in these particular stages, or even consist of every single one but, purely for the sake of Reverse-Engineering presets, it helps substantially to view it as such. There are various benefits to utilizing this method, such as: gaining an advantageous look into what makes a particular sound ‘tick,’ figuring out the exact results of any given parameter (once modulated a certain way) and it’s reaction in relation to all the other/conflicting information (tones/sounds), plus how sources (modulators) and other destinations (parameters) respond to each other.īefore we begin, you must understand/realize that ANY ‘patch’ you open can, in essence, be broken down into 4 different stages: Granted, you unquestionably require ample time experimenting in order to achieve any kind of enduring success but, by properly acquiring how to expertly reverse-engineer presets, you can drastically enhance your skill level in this subject matter (it certainly helped me).Īlthough there is an obstinate, long-standing predilection (or, bias) that claims, when first starting out, nothing significant can be obtained/accomplished by effectuating this process, I wholeheartedly oppose that statement granting it validity in only the VERY premature stages.įor example, if you aren’t capable of accurately distinguishing the difference between ‘knobs’ and ‘sections’ then, of course, you won’t procure too much utility/efficacy from this technique but, on the other hand, if you thoroughly (or even moderately) know your synth’s functions, there is MUCH to be desired. Reverse-engineering a preset, in my humble opinion, is one of the most fundamental and beneficial practices you can implement in order to speed up the explication/illumination of the ‘Sound Design’ process because, truthfully, in regards to sound design, your ‘decipherable’ options are vastly limited… it’s either this, or traditional trial and error. ![]()
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