Lite förvånande att ett soundtrack som kom 1985 använde D-50 (1987) men det visade sig vara en miss. Senast redigerat av my-11-11 klockan 23:25. I hope I\'ve addressed your questions and thanks again for your interest.ĭå kan man stänga det kapitlet till slut :-) OK, so ends Vince\'s "Synth Programming 101"! Credit must go to my friend Casey Young for his extremely valuable guidance throughout the many years we\'ve worked together. The authenticity of both these programs is very impressive. a division of ilio) and Native Instruments B4 organ program.
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As far as piano and organ sounds go, I really like this new software piano program called "Ivory" (from a company called Synthogy. Some of the current synth gear I would recommend looking into would be the YAMAHA Motif (great sound and quite versatile) and ilio\'s "Atmosphere" (fairly inexpensive but make sure you have a good computer system to use it on). We mostly used the modular synths for that stuff and I have yet to hear any software modular synths that come close. Just as one example, a lot of the bass sounds we used were made up of one synth handling just the attack ("punch") element of the sound while another synth was used for the sustaining "warm and fat" part of the sound. As in acoustic orchestration, a lot of times less is more and you can often get a \'bigger\' sound by arranging the notes and putting sounds together in such a way that you end up with a huge and very effective sound with surprisingly few notes and sound sources. There are certainly times to do this, but we haven\'t really used that technique very much. Some programmers choose to stack similar sounds from different instruments, thereby creating the illusion of a \'bigger fatter sound\'. b) stacking instruments and getting each one to contribute vastly different elements of the overall sound. The real tricks with synth pragramming are, a) tweaking the sound to sculpt it into whatever piece of music you\'re working on (I very rarely just call up a preset) and.
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(For some of my recent movie score work, my partner Kenny Meriedeth and I made use of some of the new orchestral libraries, but that obviously gets away from actual synth sounds.) I also use an ALESIS Andromeda (good analag synth), and a KURZWEIL K-2000 (very versatile and good-sounding sampler/player) in addition to some of the newer software units like ilio\'s "Atmosphere" & "Trilogy". I still use some of the older gear like the YAMAHA DX and TX stuff, Prophet VS and D-50. Have the \'fatness\' and \'punch\' the old hardware synths have. Some would say some of the newer gear closely replicates those sounds, but others maintain that it\'s simply not possible to expect a software synth to Your question about which synths today can get close to the sounds we made back then is a tricky one. We used a lot of external processing gear as well, like the Lexicon reverbs, Eventide Harmonizers, etc. I don\'t recall the complete list, but to the best of my recollection we used the following:
Most of the sounds were designed by my good friend (and synth programmer extrordinare) Casey Young, and most of the gear was Casey\'s as well. There was a TON of analog and digital gear used on the ROCKY IV score.
"Thanks for your inquiry about the gear I used for my earlier film score work. Här kommer ett citat ifrån honom själv (ifrån - 2005) Har undrat ganska länge (och jag tror det till och med har berörts här, men jag hittar inte nu) vad denne herrn använde på bl.a Rocky soundtracket.
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