falcon
Junior Member
Posts: 130
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Post by falcon on Dec 8, 2006 17:18:39 GMT
home.orange.nl/pm.vdvalk/dyndrums.mp3Not a musical piece but just some drums made with a single fusion program. The program has a 'QS style' velocity/tone relation. A couple of layers are used with some parameters mapped to velocity, instead of using vertical multisamples. Saves from using 64 Mb samplesets and is more original too  . This is not a very polished example, but it has some natural qualities. There are no sample switchpoints for example. The fusion has the potential to create 'acoustic modeling' programs a magnitude more complex than this, but it's a time consuming task. Anyway, enjoy!
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Post by Hollow Sun on Dec 8, 2006 17:54:45 GMT
Not a musical piece but just some drums made with a single fusion program. The program has a 'QS style' velocity/tone relation. A couple of layers are used with some parameters mapped to velocity, instead of using vertical multisamples. Saves from using 64 Mb samplesets and is more original too Very nice! You're a man after my own heart - so much can be done to create good, authentic sounding kits without resorting to memory-hogging velocity switched samples... velocity to filter cutoff, velocity to amplitude, velocity to pitch, velocity to sample start, etc., can be very effective in creating realistic drums from single samples. Time-honoured techniques of old now sadly overlooked in these bloatware days  Steve |
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falcon
Junior Member
Posts: 130
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Post by falcon on Dec 11, 2006 12:11:46 GMT
Yes 'bloatware' is unfortunately a trend; marketingwise size does matter. When offered a 1 Gb or a 200 Mb sampleset, Joe Anyone will most likely choose the first, irrespective of quality. You've written a pretty good article about these issues and deliver good material in this respect. I'm not against large samplesizes as long as it is functional. - Sampling many notes of a piano or certain one-shot sounds (cymbals) with a long tail: well ok. but: - Sampling melodic riffs: hmm.... iffy. - Sampling many velocity stages and specific acoustic conditions of drums: hmmm... grey. Sure, the last two are 'modern' success- formulas, but it's more of a reproductive process than a productive one. You could as well sample that Mike Stern guitar sound and create a 'hit of your own'. Some exceptions aside, I think that samples should be neutral/clean, with wet processing on-board. The more you produce on the spot, the higher the originality. Even if it's only a sine. Before anyone advises to go cook a meal (or dial a pizza in my case): yes I'm aware of the Freudian slips in this post. |
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Post by Jesse on Dec 11, 2006 20:08:34 GMT
Great! drum sounds Falcon.  |
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. This is not a very polished example, but it has some natural qualities. There are no sample switchpoints for example. The fusion has the potential to create 'acoustic modeling' programs a magnitude more complex than this, but it's a time consuming task. Anyway, enjoy!
