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I would think most engineers circumvent programming by "sound" and use computer language to design their patch, like Atlanta's - Richard Devine. When you understand music theory and computer language. You can make a "vst" patch do just about anything without playing with the synth itself by doing stuff like this:
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// print "Hello world!"
"Hello world!".postln;
// play a mixture of pink noise and an 800 Hz sine tone
{ SinOsc.ar(800, 0, 0.1) + PinkNoise.ar(0.01) }.play;
// modulate a sine frequency and a noise amplitude with another sine
// whose frequency depends on the horizontal cursor position
{
var x = SinOsc.ar(MouseX.kr(1, 100));
SinOsc.ar(300 * x + 800, 0, 0.1)
+
PinkNoise.ar(0.1 * x + 0.1)
}.play;
// list iteration: create a collection of indices multiplied by their values
[1, 2, 5, 10, -3].collect {
arg item, i;
item * i;
};
// factorial function
f = {
arg x;
if(x == 0) { 1 } { f.(x-1) * x }
};
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then you can import this "language" into a synth patch, and have the best super saw wave there is. Without playing w/ filters, lfo, etc. etc..
Then the rest of us, try and duplicate these sort of commands by ear so that we've replicated what the engineers have actually programmed.
If you've ever watched a youtube video on programming a synth you've probably noticed how percise the setting have to be in order to get that "sound" and how they go right to it.
That's because someone broke the "code" and had that particular sound translated to whatever synth you're using to recreate it.
It's really interesting stuff.
Last edited by DJRYAN™ on Jan-09-2012 at 20:46
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