Deep Sort 95 Don 39;t Touch My Synth Download ##BEST##

Which iOS synth has the best user interface for directly tweaking parameters on the fly using the touchscreen? I'm thinking along the lines of "one knob per function" rather than, for instance, an assignable XY controller.

@eddielovesyou said:

Deep Sort 95 Don 39;t Touch My Synth Download

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Hideable keys are unusual in iOS synths...Thor has a minimizable keyboard and a very interesting way of cramming tons of tweaking into one page (a kind of accordion GUI). It also has a control scheme that sort of turns dials into sliders...

This depends a bit on what you're looking for, flavor or synthesis type, and the "how deep" versus "how easy to tweak" type of calculus. The free Nanologue is a very accessible one pager and sounds great but it's on the simple side...Epic Synth has a very simple 2 page GUI but contains classic sounds, and mostly sliders. The other end would be the many first tier instruments that include all kinds of dials and sliders, and many sub pages...DRC, iTuttle, and about 30 others.

Definitely trying to find that sweet spot between depth and tweakability. Full synthesis access is a must. I have Nanologue (of course) and while the interface is more what I'm looking for, it is indeed too limited. Looking deeper into Thor and Epic Synth, Tera looks good too.

I agree, clever interface design, with the collapsing sections that leave the most important controls available. The Swedes are masters of storage. Other than Thor, like others have said, Sunrizer or Lorentz. Both are great, one page synths with sliders. To me, Sunrizer is similar to the Nord Lead, Lorentz is sort of an updated Juno 106.

I feel like most supercollider tutorials touch the same sound design topics, like the basics of different kinds of synthesis, but it seems they are always with the purpose of teaching supercollider itself. Also these tutorials give examples of effects, but they dont explain the theory behind them, or how to fine tune them. I need material that focuses on the novice/intermediate levels of sound design, and explains the theory behind it, but still doesnt stray too far away from audio programming. What material has helped you alot in improving your sound designing skills in supercollider?

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Maybe this is related to cost. I have what appear to be soft-touch rubber on other admittedly much more expensive pieces of gear (per function, e.g. a single synth module) that have not yet shown any signs of sticky decay. In some cases, the rubber has simply worn down and smoothed out. Is it just better quality control?

You see, I knew of a local US modular synth parts outfit with nice slider cap replacements and oooh these D-shaft soft-touch knobs match the original design kinda! Only when I had them in-hand and tried them out did I realize the pointer on the knob on the MicroBrute was 90 from the flat side of the D, whereas the ones I ordered are the more popular 180 away.

Playing the deluge with velocity immediately makes it feel like a much more professional and expressive synth...My only question: Can someone tell me how to program the Deluge so that it responds to Aftertouch? (I am hoping that there may be some sort of Global setting, so I don't have to go in and edit all my patches)

For the longest time, people resorted to actual digital pianos for that accurate replication of feel. Options like the Akai MPK88 existed but never compared to the more professional touch of actual digital pianos.

Use the UNO Editor like a soft synth or virtual instrument to instantly touch any parameter of the UNO Synth while still retaining the pure, unmatched sound of real analog circuits. UNO Synth responds to parameter changes on the Editor in real-time, and vice versa, for an effortless creative experience.

Odds and ends mostly! For ye olde chiptune music band I use a collection of repurposed old Nintendo Game Boys that have been customized for better sound quality and backlit for visibility on stage. I also use a number of iPads for performance, either for live-triggering samples or as touch based synthesizers, etc. Lydia uses a TC Helicon VoiceLive Touch 2 for live vocal effects. Little of my music performance gear is what one would consider a proper musical instrument, though I do have a microKORG XL keyboard that I use for coding and the occasional melody line.

I have a collection of keyboards and hardware synths, but mostly they just collect dust I'm afraid! Same goes for the assorted guitars and such, though I do have a Korean-made Kraken brand 8-string electric that I've used for sound effects and the occasional lush chord or plinky plink where necessary. For field recording and random audio capture I use a Zoom H4n Pro which is much nicer than I deserve considering I mostly use it to record the sound of dirt being crunched under a boot or various bits of metal junk being smacked together.

I use a ton of interesting iPad apps for music and sound design that I definitely want to shout out, as I feel like people never talk about app music tools. First and foremost is Samplr, which is a live waveform manipulation tool, so you can literally grab the waveform of the audio with your fingers and manipulate it, outputting all manner of wild sounds. I also love Moog Music's Animoog synth, which is a super deep motion synth that also has a similar touchscreen component where you can manipulate the envelops and timbres using all 10 fingers, and give some stunningly nuanced sounds when used cleverly. Waldorf's Nave is another synth app that gets used a ton and I couldn't do without. I have had a number of Waldorf's hardware synths, such as the Blofeld and even an old Microwave (real synth nerd stuff), and the Nave blows them away, IMHO.

With the iPad you have so much more processing power at your disposal compared to some purpose-built hardware keyboard, plus menu-diving is a breeze on the large iPad touchscreen compared to some cheesy half inch tall LCD display with buttons and a knob. I could probably go on for hours about music apps, but for the sake of some semblance of brevity I want to do a final shout-out to my favorite app, e-l-s-a, which is a super novel loop-based sample synth that makes some hauntingly beautiful sounds from rubbish audio capture, and that's what I love!

While FANTOM is powerful by itself, its powers grow exponentially when connected to other gear like computers or analog synthesizers. FANTOM can control software synthesizers directly from the touchscreen, drive modular and analog synthesizers from its dual CV/Gate outputs, and is also a high-quality audio interface capable of 16 stereo outputs and 3 stereo inputs

FANTOM runs multiple synthesis technologies simultaneously for both modern and classic sounds. You can also sample your own sounds and trigger the internal memory with up to 2 GB worth of loops and one-shots from the pad matrix. FANTOM has plenty of knobs and sliders for intuitive control. There are levers, wheels, pedals, and aftertouch; with FANTOM, you can use any or all of them.

Then one of my roadies mentioned that Roland had a guitar synthesizer on the it seemed right up my street. Eventually I got one in November 1977, just before I started work on my solo album, Please Don't Touch. The fact that I didn't have much time between getting the thing and recording the album was a bit of a drag, but I managed to get my head down with it for about four days prior to the start of the recording to see what sort of settings I'd like to use.

And so to the album, Please Don't Touch. The Roland guitar synthesizer can be heard quite extensively on this record, and I'll give you a few example of how I used it. There's a track called Land Of A Thousand Autumns, to start with, where I used just guitar synth and 12-string guitar. That's a short track, but I think it's where the synth is most obvious: there's an arpeggio which starts at the bottom, also the Bass section of the synth is included in there too. You can hear from this that, by adjusting the Polyensemble section of the module, you have a lot of control over the tonal qualities, the voicing, of the guitar. The envelope generator in the Polyensemble section is a sort of percussion control, you get attack, decay and sustain sliders. This way you can either get very long, sustained, wafting notes or very short notes.

On Hoping Love Will Last from the album I used the guitar synth to introduce the piece, a long note at the beginning, with the nylon-string guitar joining it after a short time. The effect is a bit like a combination of soprano sax and an oboe (maybe even smoother than oboe, like a cor anglais). Before Randy Crawford's voice comes in I use the synth, which sounds like an orchestra at. that point. Then the track moves to the guitar synth by itself, and then we brought in real strings, the syn th on a sort of string sound. The whole thing blended very well together, and we ended up with something like a 40-piece string section, part of it being the guitar synth's string sound marrying totally with the real strings. 2351a5e196