Hello!
I´m really looking for solaris sound demos...but not only this, right now I only have lots of modular sound demos, but very few up to none of the other synths! Even the 3rd-party manufactors dont offer sound demos, only try out demos...uh, I dont have a creamware yet, but I´d like to listen to it as much as possible!
Can you quote some resources?
thx!
Tom
Sound Demos, Mp3s, Wav, Wavepack, whatever!
oh, thanks, thats what I´ve been looking for...I cant help myself, but i think all the synths have a pretty similar base sound, maybe thats the creamware sound, and the only hardware synth I know that sounds pretty much the same is the Waldorf Microwave 2 (XT), - same experimental sound I´d say...It doesnt come up to Waldorf Q in terms of anti aliasing on high frequencies, but it sure is better than almost any of the softsynths (except absynth)
Well I´m not so stunned by these samples...maybe I´m a bit biased by the artistic factor of those sound demos, I just can't ever exclude that factor...
What impressed me most about scope was surely the flexor plugins' sound and the philosophy of their creators (they take much care of the phase alignment things and they think its best not to try to rebuild old synths' sound, instead they focus on bringing out the best if the digital domain they work in!)
I guess in summary scope stuff is killer (i dont have one yet) but if you´re not stupid, you should know, that you can almost connect anything to anything, so if you dont like the filter sound of the minimoog, take a flexor filter for example (this should work, - only bypass the filter or leave it completely open, and assign the same midi path that triggers the amp envelopes for minimax to trigger some filter env for a flexor filter) I dont know any other platform, which is able to give so much liberty on such a high quality (DSPs!)
In the end I have to ask myself, why it seems to me, that creamware´s marketing seems like making a secret of their product´s capabilities...uh, maybe having a secret makes others even more eager in getting behind that secret, is that it? hehehehe...sorry I could not keep that back...
cheers
Tom
Well I´m not so stunned by these samples...maybe I´m a bit biased by the artistic factor of those sound demos, I just can't ever exclude that factor...
What impressed me most about scope was surely the flexor plugins' sound and the philosophy of their creators (they take much care of the phase alignment things and they think its best not to try to rebuild old synths' sound, instead they focus on bringing out the best if the digital domain they work in!)
I guess in summary scope stuff is killer (i dont have one yet) but if you´re not stupid, you should know, that you can almost connect anything to anything, so if you dont like the filter sound of the minimoog, take a flexor filter for example (this should work, - only bypass the filter or leave it completely open, and assign the same midi path that triggers the amp envelopes for minimax to trigger some filter env for a flexor filter) I dont know any other platform, which is able to give so much liberty on such a high quality (DSPs!)
In the end I have to ask myself, why it seems to me, that creamware´s marketing seems like making a secret of their product´s capabilities...uh, maybe having a secret makes others even more eager in getting behind that secret, is that it? hehehehe...sorry I could not keep that back...
cheers
Tom
at the moment creamware stuff is oriented to users who already have in mind what can be done with scope platform.
For sure there is not marketing to show what creamware systems are able to do and the on line demos are a bit too musical to attract peoples in search for something of electronic/dance oriented with ready to use sounds.
If we look at native instruments web site, we can see that they have testimonials from all range of dance music genres, so young unexperienced producers will trust in native instruments products as the must have for electronic/dance music production.
I bought my first creamware card in 1998 and it is still irreplaceable, because there is nothing of comparable on the market.
With scope you can do every sound and modulation you have in mind and it's wrong to talk about a base sound, because there is not a base sound, especially on synths as solaris, where you can use every kind of filters, oscillators and modulation routing from a very large library as rd modules, spacef modules and all the modular osc and filters......
For sure there is not marketing to show what creamware systems are able to do and the on line demos are a bit too musical to attract peoples in search for something of electronic/dance oriented with ready to use sounds.
If we look at native instruments web site, we can see that they have testimonials from all range of dance music genres, so young unexperienced producers will trust in native instruments products as the must have for electronic/dance music production.
I bought my first creamware card in 1998 and it is still irreplaceable, because there is nothing of comparable on the market.
With scope you can do every sound and modulation you have in mind and it's wrong to talk about a base sound, because there is not a base sound, especially on synths as solaris, where you can use every kind of filters, oscillators and modulation routing from a very large library as rd modules, spacef modules and all the modular osc and filters......
i agree with You, at the moment i don't see any marketing and the only one is done by satisfied users and small developers...In the end I have to ask myself, why it seems to me, that creamware´s marketing seems like making a secret of their product´s capabilities...uh, maybe having a secret makes others even more eager in getting behind that secret, is that it? hehehehe...sorry I could not keep that back...
to my ears that's both right and wrong at the same timedjmicron wrote:...
With scope you can do every sound and modulation you have in mind and it's wrong to talk about a base sound, because there is not a base sound, ...
I clearly hear a 'common denominator' in all Scope synths and FX, yet it is true that each developer seems to achieve an individual 'soundprint' comparable to variations of physical instruments.
Flexor certainly deviates most from the 'standard' , but Celmo's series of the Waldorf Osc incarnations (PPGhost, DeepBlue and Bluesynth) shows an amazingly broad range of a single theme.
Overall it's a far broader than anything VST synths (including the 'gimme my own 3ghz cpu monsters') have to offer.
Just yesterday I compared the native Arts Acoustic to some Scope reverbs.
The Arts Acoustic clearly wins on (an extremely smart) user interface, and it has some fine 'painted' large spaces that even the STW Ambience fails on.
But the sound is sooo 'very fine', almost fragile - that the 'beef' of the Sharc processing comes in very, very obvious.
On the other hand this 'fat' processing created a trustworthy small room that was impossible for the Arts Acoustic to achieve.
For obvious reasons you'd want both of course - each had it's strength and weakness
While I think one could 'thin out' a DSP program's result somewhat to 'mimic' native processing's sound print, I'd consider the reverse process close to impossible - at least I cannot remember any VSTi that even came close to that region.
cheers, Tom