![]() Phobos is available as a standalone instrument and plug-in for Mac, Windows, and Pro Tools, at an intro price of €239 including VAT. So watch for that in the review.īut clearly, as people look to outboard gear with knobs and such for more conventional synth sounds, now is the computer’s time to shine as a futuristic sample-based workstation. I’m very keen to try getting beyond the stuff contained in the presets to see how flexible this is as a custom sound design tool. ![]() In the meanwhile, there’s both an evocative trailer and a more detailed walkthrough showing you how this works. This isn’t a review – I’ve just gotten my hands on this library myself. There are nearly 2500 samples there, for a total of around 23 GB of data, so while you get loads of presets to get you going, there’s no shortage of possibilities for customization. As with some of the other newer sound tools Plus, get your music heard on Apple Music, Spotify, Pandora, and dozens of other major streaming outlets with AvidPlay. To those three convolution voices, you additionally get lots of morphing and so on – the idea being that you hear organic transformations of sound rather than repetitive loops.Īnd what’s nicest is that all of this – from the more conventional envelope/gate controls to advanced convolution and morphing settings – are neatly organized around a clear interface. With Avid Link in the Pro Tools interface, you can find and connect with a community of music creators and audio professionals to collaborate and expand your creative opportunities. For Phobos, that means a bunch of rhythms get convolved with a bunch of tonal materials for otherworldly results. But you can also combine other tonal and rhythmic materials. That’s a technique often associated with reverbs, because it’s well-suited to that – convolving a source with an impulse response recorded in a space is theoretically equivalent to having your source playing in that space. So what does that mean? Well, there are three independent convolution processes in each patch – referring to a technique for digitally combining two recorded sounds. The developers call this a “polyconvolution” synth. Producer BT (Brian Transeau) is working on this particular outing – but no stutter effects here this is all about lush, strange science fiction sounds. Now, we hear from the UK’s Spitfire, a sample house on the other side of the pond. I’ve written at some length about the approach of LA-based Output on these lines – and relied on their instruments when under painfully short deadlines, in particular. What’s happening now is we’re getting a bumper crop of hybrid instruments – ones that use extensive multi-gig sample libraries and combine them with synthesis and processing to form sounds that hadn’t existed before. For years, designers had produced instruments that either relied primarily on sampled sound, reproducing existing acoustic instruments, or worked mainly with synthesized sound and short wavetables, like a typical synth. ![]() We’ve reached a new era in software instruments. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |