The REV2 is a deep and VERY capable synth

Razmo · « **Reply #100 on:** October 17, 2018, 06:26:54 AM »

I found that I needed a few more plucked string instruments, so here are two new ones:

http://razmo.ziphoid.com/PluckedStrings.mp3

Little String
The Minstrel

a bit of external reverb as usual, otherwise just REV2... I'm beginning to understand more precisely what tricks to use for making instruments with a more organic plucked string sound... a lot can be obtained by mixing two oscillators with each a different setting of the shape parameter... with the correct shape of the filter and amp envelopes (feedback on envelopes to obtain a more plucked curve) plus a tad bit of flanger FX with very slow speed and amount to simulate a strings constant frequency/harmonic change and you get something that sound organic enough... couple it with the right expression control and you're good to go

Razmo · « **Reply #101 on:** October 17, 2018, 07:36:08 AM »

A picture of my working environment at the moment... pretty simple setup

creativespiral · « **Reply #102 on:** October 17, 2018, 10:54:21 AM »

This bank is sounding great!! Any chance you can include a short doc/pdf when you sell it?... with the name of each patch, and a brief paragraph explaining the type of sound, and general approach you took in creating it? I really like reading these paragraphs you've been including with the examples.. having this type of context can be really useful.

Quote from: Razmo on October 17, 2018, 06:26:54 AM

I found that I needed a few more plucked string instruments, so here are two new ones:

http://razmo.ziphoid.com/PluckedStrings.mp3

Little String
The Minstrel

a bit of external reverb as usual, otherwise just REV2... I'm beginning to understand more precisely what tricks to use for making instruments with a more organic plucked string sound... a lot can be obtained by mixing two oscillators with each a different setting of the shape parameter... with the correct shape of the filter and amp envelopes (feedback on envelopes to obtain a more plucked curve) plus a tad bit of flanger FX with very slow speed and amount to simulate a strings constant frequency/harmonic change and you get something that sound organic enough... couple it with the right expression control and you're good to go

Razmo · « **Reply #103 on:** October 17, 2018, 11:21:52 AM »

Quote from: creativespiral on October 17, 2018, 10:54:21 AM

This bank is sounding great!! Any chance you can include a short doc/pdf when you sell it?... with the name of each patch, and a brief paragraph explaining the type of sound, and general approach you took in creating it? I really like reading these paragraphs you've been including with the examples.. having this type of context can be really useful.

Quote from: Razmo on October 17, 2018, 06:26:54 AM
I found that I needed a few more plucked string instruments, so here are two new ones:

http://razmo.ziphoid.com/PluckedStrings.mp3

Little String
The Minstrel

a bit of external reverb as usual, otherwise just REV2... I'm beginning to understand more precisely what tricks to use for making instruments with a more organic plucked string sound... a lot can be obtained by mixing two oscillators with each a different setting of the shape parameter... with the correct shape of the filter and amp envelopes (feedback on envelopes to obtain a more plucked curve) plus a tad bit of flanger FX with very slow speed and amount to simulate a strings constant frequency/harmonic change and you get something that sound organic enough... couple it with the right expression control and you're good to go

Yes... that is exactly what I intend to do

... I'll make a document describing each and every program, including what the different controllers do to the sound (velocity, aftertouch, modwheel, pitchwheel and pedal). This is very important since the programs are extremely expressive... no control is left untouched for maximum expressivity...

Also... as the REV2 has no way of categorizing the programs, I decided to use the first four characters in the name as a category depictor... for example; "AMB:" is an abreviation for Ambience... this way the programs are sorted in the bank so that all Ambience programs are grouped together and so on... this makes it a lot easier to locate what you need. A REV2 name is 20 characters long, where the older Prophet 08 was only 16... so I thought that those extra 4 characters would be useful for a category name.

Until now I've got:

AMB: Ambience
ARP: Arpeggio
BAS: Bass
BEL: Bell
BOW: Bowed (like single violins etc.)
BRS: Brass
ENS: Ensemble (this include string sections etc.)
KBD: Keyboard
PLK: Plucked (guitars, harps etc.)
SEQ: Sequence
SFX: Sound Effect
SYN: Synth
VOC: Vocal
WND: Wind (like flutes etc.)

more will probably come...

OneLittleFonzie · « **Reply #104 on:** October 19, 2018, 02:48:44 AM »

Quote from: Razmo on October 17, 2018, 11:21:52 AM

Quote from: creativespiral on October 17, 2018, 10:54:21 AM
This bank is sounding great!! Any chance you can include a short doc/pdf when you sell it?... with the name of each patch, and a brief paragraph explaining the type of sound, and general approach you took in creating it? I really like reading these paragraphs you've been including with the examples.. having this type of context can be really useful.

Quote from: Razmo on October 17, 2018, 06:26:54 AM
I found that I needed a few more plucked string instruments, so here are two new ones:

http://razmo.ziphoid.com/PluckedStrings.mp3

Little String
The Minstrel

a bit of external reverb as usual, otherwise just REV2... I'm beginning to understand more precisely what tricks to use for making instruments with a more organic plucked string sound... a lot can be obtained by mixing two oscillators with each a different setting of the shape parameter... with the correct shape of the filter and amp envelopes (feedback on envelopes to obtain a more plucked curve) plus a tad bit of flanger FX with very slow speed and amount to simulate a strings constant frequency/harmonic change and you get something that sound organic enough... couple it with the right expression control and you're good to go

Yes... that is exactly what I intend to do ... I'll make a document describing each and every program, including what the different controllers do to the sound (velocity, aftertouch, modwheel, pitchwheel and pedal). This is very important since the programs are extremely expressive... no control is left untouched for maximum expressivity...

Also... as the REV2 has no way of categorizing the programs, I decided to use the first four characters in the name as a category depictor... for example; "AMB:" is an abreviation for Ambience... this way the programs are sorted in the bank so that all Ambience programs are grouped together and so on... this makes it a lot easier to locate what you need. A REV2 name is 20 characters long, where the older Prophet 08 was only 16... so I thought that those extra 4 characters would be useful for a category name.

Until now I've got:

AMB: Ambience
ARP: Arpeggio
BAS: Bass
BEL: Bell
BOW: Bowed (like single violins etc.)
BRS: Brass
ENS: Ensemble (this include string sections etc.)
KBD: Keyboard
PLK: Plucked (guitars, harps etc.)
SEQ: Sequence
SFX: Sound Effect
SYN: Synth
VOC: Vocal
WND: Wind (like flutes etc.)

more will probably come...

Looking forward to buying these patches from you. The examples in this topic sound amazing.

jigdagod · « **Reply #105 on:** October 20, 2018, 12:52:58 AM »

I've read all the pages and enjoyed the tips you share as I'm new to synthesis. You've inspired me to just experiment and not get too deep into knowing how to do certain things. I know the basics of each control.
I plan to take time to go back and listen to each sound you've posted. Looking forward to the release of the patches. Appreciate your commitment and knowledge you are sharing along the way. Nice simple setup too. Are those Adams monitors?

Razmo · « **Reply #106 on:** October 20, 2018, 04:21:03 AM »

Quote from: jigdagod on October 20, 2018, 12:52:58 AM

I've read all the pages and enjoyed the tips you share as I'm new to synthesis. You've inspired me to just experiment and not get too deep into knowing how to do certain things. I know the basics of each control.
I plan to take time to go back and listen to each sound you've posted. Looking forward to the release of the patches. Appreciate your commitment and knowledge you are sharing along the way. Nice simple setup too. Are those Adams monitors?

Glad I can be of some use and inspiration for others to delve in

... and yes, those are the small A3X monitors

jigdagod · « **Reply #107 on:** October 20, 2018, 07:55:49 AM »

Quote from: Razmo on October 20, 2018, 04:21:03 AM

Quote from: jigdagod on October 20, 2018, 12:52:58 AM
I've read all the pages and enjoyed the tips you share as I'm new to synthesis. You've inspired me to just experiment and not get too deep into knowing how to do certain things. I know the basics of each control.
I plan to take time to go back and listen to each sound you've posted. Looking forward to the release of the patches. Appreciate your commitment and knowledge you are sharing along the way. Nice simple setup too. Are those Adams monitors?

Glad I can be of some use and inspiration for others to delve in ... and yes, those are the small A3X monitors

Nice! I have the A7X. Love em! I went back and listened to your clips you posted. Currently listening to the first one you posted. They are simply amazing. A lot of movement and texture going on. Can't wait for the release so I can use them to learn from.

Razmo · « **Reply #108 on:** October 21, 2018, 08:31:49 AM »

http://razmo.ziphoid.com/SoftBrass.mp3

Made a rather standard analog soft brass type sound today... nothing special about this one... it uses both layers though with all four oscillator at the same time for an extra fat texture.

Consigliere · « **Reply #109 on:** October 25, 2018, 02:26:32 PM »

Awsome sounding! Some of the sounds sounds so complex that I couldn't believe it was possible. Very Deep Indeed! Buying the patches when u'r done.

Horse · « **Reply #110 on:** October 27, 2018, 02:17:33 AM »

Hi Razmo

Thanks for sharing your sounds and ideas.

Could you possibly say a little more about using an envelope to feedback into one of its own parameters please? I've not got my head around this, and when experimenting I'm not finding I hear a difference, so any further explanation would be much appreciated thank you.

Razmo · « **Reply #111 on:** October 27, 2018, 02:35:24 AM »

Quote from: Horse on October 27, 2018, 02:17:33 AM

Hi Razmo

Thanks for sharing your sounds and ideas.

Could you possibly say a little more about using an envelope to feedback into one of its own parameters please? I've not got my head around this, and when experimenting I'm not finding I hear a difference, so any further explanation would be much appreciated thank you.

It's a rather simple trick... in the mod matrix, you choose the envelope you want to change, for example the AUX envelope 3, and choose this as the modulation source... the modulation destination can be any of the envelopes own attack, decay or release parameters, depending on which you want to change (usually it's the decay parameter)... the modulation amount decides if you want a downward sloping curve or upward sloping curve... positive amounts make it downwards, and negative amount makes it upwards.

When you have set that one mod matrix assignment up, you need to set envelope 3's destination to whatever parameter you want to affect... if it's for snappy basses, you'd want to set it to control the cutoff, if it's a snappy kick drum it's an oscillator's pitch you'd want to control etc.

Just remember to experiment with the envelopes parameters, as these will influence how the feedback curve will be... a rule of thumb is, that if you have say; decay set to the value 64, then the mod matrix amount should not exceed exactly that number... because you will not get any change above that value then.

example envelope 3:

1. Mod Matrix slot 1: Source Env3, Destination Env3Decay, amount -64 to +64
2. Envelope 3 destination: Osc3Pitch
3. Envelope 3 attack 0, decay 64, sustain 0, release 20
4. Envelope 3 amount at anything between 1 and maximum depending on how much modulation you want on the pitch.

now experiment with the mod matrix slot 1's amount between -64 to +64, and notice the result.

you do not need to use envelope 3 of course... the filter and amp envelopes can also be used, and they are allready routed to the cutoff and volume which means you could omit step .2 above in those cases.

This feedback trick is crucial for snappy basses and especially snappy kick drums.

Horse · « **Reply #112 on:** October 27, 2018, 03:30:21 AM »

Quote from: Razmo on October 27, 2018, 02:35:24 AM

It's a rather simple trick... in the mod matrix, you choose the envelope you want to change, for example the AUX envelope 3, and choose this as the modulation source... the modulation destination can be any of the envelopes own attack, decay or release parameters, depending on which you want to change (usually it's the decay parameter)... the modulation amount decides if you want a downward sloping curve or upward sloping curve... positive amounts make it downwards, and negative amount makes it upwards.

When you have set that one mod matrix assignment up, you need to set envelope 3's destination to whatever parameter you want to affect... if it's for snappy basses, you'd want to set it to control the cutoff, if it's a snappy kick drum it's an oscillator's pitch you'd want to control etc.

Just remember to experiment with the envelopes parameters, as these will influence how the feedback curve will be... a rule of thumb is, that if you have say; decay set to the value 64, then the mod matrix amount should not exceed exactly that number... because you will not get any change above that value then.

example envelope 3:

1. Mod Matrix slot 1: Source Env3, Destination Env3Decay, amount -64 to +64
2. Envelope 3 destination: Osc3Pitch
3. Envelope 3 attack 0, decay 64, sustain 0, release 20
4. Envelope 3 amount at anything between 1 and maximum depending on how much modulation you want on the pitch.

now experiment with the mod matrix slot 1's amount between -64 to +64, and notice the result.

you do not need to use envelope 3 of course... the filter and amp envelopes can also be used, and they are allready routed to the cutoff and volume which means you could omit step .2 above in those cases.

This feedback trick is crucial for snappy basses and especially snappy kick drums.

Excellent - thank you. So it's mainly a technique for snappiness?

Razmo · « **Reply #113 on:** October 28, 2018, 02:51:25 AM »

Quote from: Horse on October 27, 2018, 03:30:21 AM

Quote from: Razmo on October 27, 2018, 02:35:24 AM

It's a rather simple trick... in the mod matrix, you choose the envelope you want to change, for example the AUX envelope 3, and choose this as the modulation source... the modulation destination can be any of the envelopes own attack, decay or release parameters, depending on which you want to change (usually it's the decay parameter)... the modulation amount decides if you want a downward sloping curve or upward sloping curve... positive amounts make it downwards, and negative amount makes it upwards.

When you have set that one mod matrix assignment up, you need to set envelope 3's destination to whatever parameter you want to affect... if it's for snappy basses, you'd want to set it to control the cutoff, if it's a snappy kick drum it's an oscillator's pitch you'd want to control etc.

Just remember to experiment with the envelopes parameters, as these will influence how the feedback curve will be... a rule of thumb is, that if you have say; decay set to the value 64, then the mod matrix amount should not exceed exactly that number... because you will not get any change above that value then.

example envelope 3:

1. Mod Matrix slot 1: Source Env3, Destination Env3Decay, amount -64 to +64
2. Envelope 3 destination: Osc3Pitch
3. Envelope 3 attack 0, decay 64, sustain 0, release 20
4. Envelope 3 amount at anything between 1 and maximum depending on how much modulation you want on the pitch.

now experiment with the mod matrix slot 1's amount between -64 to +64, and notice the result.

you do not need to use envelope 3 of course... the filter and amp envelopes can also be used, and they are allready routed to the cutoff and volume which means you could omit step .2 above in those cases.

This feedback trick is crucial for snappy basses and especially snappy kick drums.

Excellent - thank you. So it's mainly a technique for snappiness?

Mostly yes, but I also use it the other way around with the curve being upward logarithmic... I use this mostly on the amp envelope so that the volume stay high for a longer period befor it start to curve downward fast... That is useful on basses where you want the tail of the sound to be loud, thus making the tail more boomy... But it can be used for other things as well once in a while. You could perhaps compare the downward logarithic curve with a compressor, and the upward curve with an expander... Sort of...

Horse · « **Reply #114 on:** October 28, 2018, 07:43:31 AM »

Thanks again- I will have an experiment

mdts · « **Reply #115 on:** October 28, 2018, 09:27:56 AM »

Quote from: Razmo on October 21, 2018, 08:31:49 AM

http://razmo.ziphoid.com/SoftBrass.mp3

Made a rather standard analog soft brass type sound today... nothing special about this one... it uses both layers though with all four oscillator at the same time for an extra fat texture.

Great sounding brass, looking forward to the whole bank.

Rev2 is a keeper and I gotta say, I completely lost interest for the One since some of its design decisions are dumbfounding (5 audible cheap fans in a synth this expensive), and also wasn't that keen on the core tone.

dsetto · « **Reply #116 on:** October 29, 2018, 09:28:14 AM »

Having been reading you for long before owning DSI instruments, I'm also looking forward to purchasing your Rev2 patches. Thank you.

eagleman · « **Reply #117 on:** October 29, 2018, 03:03:22 PM »

Razmo! Your upcoming patchbank contains the most inspiring sounds i heard for a long time. You really get the most out of this synth. Appreciate the effort you lay on every sound. its so subtle, organic and delicate. Very skillful. Looking forward to by this when its ready. Keep up the good work

Razmo · « **Reply #118 on:** October 31, 2018, 04:54:44 PM »

New program called "Starchild"

http://razmo.ziphoid.com/Starchild.mp3

It's an ambient sound for sure, using two layers... one does the tonal part with a hell of a lot of modulation going on (too complicated to explain it right now)... it's covered in a heavy dose of stereo delay... the stereo delay is perfect for getting very wide sounds with depth and stereo perspective if you make sure that the pan position is modulated in realtime... this makes the reflections bounce from left to right (ping pong)... with a long enough delay, the whole tone starts to "melt" into a wall of sound

The other layer is responsible for the "star sounds"... again a heavily modulated sound which is too complicated to explain, but in short I'm using the LFO's to do the panning, pitch changes and even the filter and amp modulation... this way I can use the filter envelope and amp envelope for a kind of global contour shapers... this is done so that when i release the keys, the "stars" keep "pinging" while they die out... a heavy dose of reverb with the hipass filter cranked almost all the way up makes sure the "stars" are unobtrusive and delicate

So... what you hear in the demo is 100% REV2... no external reverb used on this one... i want these programs to be as playable and good sounding right out of the box as possible

The program is also very dynamic... the complex modulations can be changed via Modwheel/FootPedal... the more you modulate, the faster the modulations... this is VERY important to me in all my programs... they have to be absolutely meant for live playing, so that you can constantly evolve the sounds... when I record ambient music i record every track live, and thus performing some evolving soundscapes is crucial to what I want to be able to do with these programs.

The way I'm creating the bank of sounds is that i make sure that the ModWheel and FootPedal both control exactly the same modulation... this is done for more than one reason, the first being that not all have a pedal to use, and they should be able to use the modwheel instead... on many programs it's advisable to use a footpedal though, simply because it frees both of your hands to play, and still make evolving modulations to the sound with your foot... you cannot do that as well using the modwheel unless the sound is monophonic... the second reason is that I want the sounds to be as simple to understand as possible... each program is designed with ONE modulation in mind... simple.

Aftertouch is mostly used for one purpose only; pitch vibrato... and PitchWheel is normally routed only to pitch... velocity controls various aspects of the sounds as well, and if any, only VERY FEW programs do not use these modulation controls.

Most sounds use stacked mode, but can have their B layer switched off for more polyphony, or switching off FX (many of my programs use layer B as sort of an FX layer)... all programs was designed with just layer A in mind... perfecting this layer to sound as good as possible on it's own... after this, layer B is added for extra stuff that enhance or complement layer A... thus, in most cases, layer A alone will always sound good... this can be handy for some programs if 8 voices in stacked mode is too little for some reason... and then you can simply use external FX instead to spice things up.

A picture that fits the demo has been attached to this post

skrohmer · « **Reply #119 on:** November 01, 2018, 12:21:51 AM »

Quote from: Razmo on October 31, 2018, 04:54:44 PM

New program called "Starchild"

I'm deeply impressed by any of the previous presented patches and I don't want to comment every single one of them but in this case I must do it

: This Starchild is really amazing and inspiring. Indeed, despite some firmware issues which could and should be optimized, the REV2 is VERY useful! Thanks for showing us the possibilities. Especially for me as synth beginner it helps a lot!