ya its only the third from last chord thats off...but sounds good

quote:

Originally posted by -=Re-GrOoVeD=- I've tried to recreate the awesome string from Rank 1 - Airwave on my JP-8000: http://peed.mine.nu/Endre/rank1-air...siva_remix2.mp3

it's one of the low notes that is wrong but apart from that...

WICKED!!!!!!

I reeeeally need to get myself one of those jp8000


dbl, wan't to share one with me?

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quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

quote:

Originally posted by Vizay it's one of the low notes that is wrong but apart from that... WICKED!!!!!! I reeeeally need to get myself one of those jp8000 dbl, wan't to share one with me?

sure, if you pay it and i get to have it

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Daniel

hmmm.... double post.. sorry.. dunno how it happend.. TA got like.. crazy or something

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Daniel

quote:

Originally posted by dbl sure, if you pay it and i get to have it

hehe it's funny coz I was thinking the exact same thing!

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quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

quote:

Originally posted by Vizay hehe it's funny coz I was thinking the exact same thing!

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Daniel

Hi people !

I was just watching this thread and how big it has become since those days when we started producing phat sounds.
Meanwhile lots of cool, but somtimes not very helpful post are in this thread and I want to bring it back to the roots where it all began.

Right now, most of us are able to create "supersaws" , quite good basslines and some fucking great standard fxs...

the point of beginning was finding out how the pros do their sounds and what we can do to get similar results:

- The most producers who are sucessful since years use still
hardware because they got this equipment as when they began to produce, softsynths were crappy or not available

- Software Synths can produce also awesome sounds ( DJ . S.H.O.K.K. , Flutlicht to name some of my favourites )

- Exciter hardware of software and brilliant eqing bring sounds to the level of high quality

- Using samples from hardware synths ( preferable from high quality [expensive sometimes ] sampling CDs ) can make your software sampler ( NN19 for me ) sound really BIG and phat, clear & crispy

- Layering sounds is often a way to make sounds get phater, another way is "unisono"

- My personal experience shows that hardware is often sounding clearer and more crispy than software synths, but the difference in sound is ( compared to the different in $$$$ ) not very big.

I want to thank all those people who support this thread and invite you all to share your experience and knowledge with us.

Trancevision

quote:

Originally posted by Trancevision - My personal experience shows that hardware is often sounding clearer and more crispy than software synths, but the difference in sound is ( compared to the different in $$$$ ) not very big.

i have to disagree... sorry

before i bought one (im not being smug here..honest) i tried and tried to find a software synth that performs the kind of magic that my virus can achieve ...with no luck whatsoever.

vaz is the only softsynth that i rate. it doesnt fit into my setup easy as id like tho. Emagic ES2 is pretty top notch too but neither can hold a candle up to the virus tho.

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http://www.djiancashman.co.uk
My Next DJ Dates
March 12th 2005 - Becomeone @ (Sub) Logic, London (w/ Oliver Leighs, Simon Rutherford)
April 7th 2005 - Existence @ The Met Lounge,Peterborough (w/ JFK and Liam Bamford)
April 9th Wildchild @ The Empire, Milton Keynes (late minute replacement for Brisky)
April 16th 2005 - Serious @ The Cross (w/ Jonnie Pickering, Simon Patterson and Judge Jules)
May 5th 2005 - Existence @ The Met Lounge,Peterborough (w/ Riley and Durrant, Liam Bamford)
October 15th 2005 - Serious @ The Cross (w/ Simon Patterson, John O'Callahan, and Judge Jules)

My 2 cents regarding the last two replies is this:

I have never seen a softsynth that can create a bassline like my Virus can when I crank up the Unison and add a rectifier. The only one that comes close, very close, is the new Moog Modular (requires a supercomputer, my 1.8 p4 couldn't handle it).

Softsynths are getting better not by the year, but it seems to me they are improving by the month, almost by the week. It won't be more than a couple years from now when we will have a softsynth that will sound damn near just like an analog beast, like say a Moog Modular (analog purists please don't bite my head off for saying that). It is fascinating to think that in a few years we might have a Moog or Oberheim sound shooting out of a Powerbook.

Software definately has its advantages. Absynth is a sick program that I works so well as a software interface.

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Business is very food.

there are 2 softsynths that really fit in the top line of softsynths (read close to hardware)

VAZ and Spectrasonics atmosphere

theese two synths are simply amazing and if you take time to learn how to handle them they are pretty much all you need in melodyway (read all sort of sounds except drums and percussion)

but as it is today the hardware is still top notch...I've still not heard a synth produce as phat supersaw as the JP8000 or a richer sound then the Virus...but maybe in a couple of years...maybe

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quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

I learned a new trick, thought I'd share it, if you like it cool, if not cool, I like it.

Basically, I've been trying to produce those plucky synths you hear in a lot of epic trancers and didn't have much luck until I ran into a trick in some literature I found.

For what it's worth, here it is. All of the details aren't there, but it's the best I can explain it:

In your synths modulation matrix what you're going to do is modulate
the filter decay with the filter envelope itself.

So the source of the modulation won't be an LFO, it will be the filter envelope itself (note that not all synths offer this) and the modulation destination would be the filter decay.

The filter modulation needs to be at its maximum NEGATIVE number.

To compensate raise the decay to its max level.

What is this doing:

Instead of the decay being simply fast, it is actually concave.

That's the trick. Recursive modulation! It can make the decay concave or convex, in this case we want concave.

Try convex for round basses by the way!

Notice now that if you have the env amount to its maximum and cutoff at very low value, that synth should be snapping!

Not finished yet.

Run this through a phaser, using 70 percent wet signal, a fairly slow rate, high depth, fairly low frequency, no feedback, three stages, spread 127.

If your synth allows you to increase the intensity of the attack, sometimes called Punch Intensity, then raise this to its max.

Slappy, snappy, whippy are words that come to mind if you get the subtleties right.

Granted, this could be confusing, I'll try to post sometime soon.

Good luck.

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Business is very food.