Thank you, I'm glad it's getting some nice response. Thanks also for the
SC comment, always appreciated.
My "quasi" estimation was based on my tendency to think of ambient music
as harmonically static, though I've certainly heard enough examples
where that was not true. A prejudice, I guess. I'm working on it. :)
On Thu, 25 May 2017 07:52:51 -0400
Dave Phillips <[hidden email]> wrote:
> Sorry, no. Four synths are used in Declensions (it's a simple 4-track
> piece), u-he's Diva and Zebra2, Loomer's String, and discoDSP's
> Vertigo. I think they combine pretty well in a rich sound.
It's not really possible to say that 'synths combine well'. Especially
with Diva and Zebra2 because of the wide range of sounds they are
able to produce. I witnessed this recently with Diva and a series of
soundsets that are different from the others out there simply because of
the approach taken to create those sounds. Of course, due to their
complexity they sound best using the multicore option. But it goes to
show that one can make a wide array of sounds on flexible synths.
As an example, how can a Zebra2 with 'Botanica' can sound well with
synth B when the same Zebra2 can be loaded with The Unfinished
When reaching for a synth to add a part, I often go by the synth.
I|ll see an ACE in there, or some mysterious Bazille pads, or some
Biotek complexity. But actually, I am more thinking in terms of
Not to nitpick here, perhaps just an observation on how different
virtual synths can sound, to the point of having not a so well defined
personality. That personality can be the guts of their filtering
although I still think we are picturing in our minds soundsets when
thinking of synths. Except for the simplest synths, of course.
This from a guy who does not create sounds but modifies when needed
sounds created by others. I still think it takes an awful lot of time
to create expressive sounds. Create sounds or create music ?