Hypersonic

  • Thread starter Thread starter Deal
  • Start date Start date
yeah thats right, i set it to 256 bits at the export wav screen after i name it, thanks for the correction. i definitely see your point L.A, that fantom XR is looking pretty damn good now that i think about it, been a while since i played it, loved that thing.
 
LA if you got some time,
why not record some sound comparisons for everyone to hear?

i gotta wait till 2morrow to order the fantom,yea

cant wait

peace
 
Anybody made any tracks with hypersonic...?

Post em up, and let us all listen to the sounds,...I hate reading garbage from Music magazines and discovering what they dissed out I liked.

Hopefully we can find real-ness as in strings piano's, koto's, Ya know the GM sounds.
 
weird intro cuz...But the bass guitar sounded alright I can always hear a click in the bass, when it always is being used

(like it needed some attack added to make it smoother at the front of it)

I'm judging the sounds not your track by the way.

The strings were clean, and the guitar plucking was rhythmic, kinda of different sound.

Sounded cool, is there other piano's or strings, like for a mobb deep atmosphere?
 
Last edited:
don't get it twisted
HYPERSONIC has tools to make any style beat you want.

whatever vibe your after the sounds are there,you just have to know how to use it to get what you want.

Me,Im just grabbin them joints [fantom-s,& motif rack es] so I know im not missing nothing.
**** my joints from hypersonic just need some effects on em then mixed.

I just don't want any crutches anymore ,i.e. "well if i had a triton my **** would sound doper"

It's not that i don't have bangers,cause **** if i posted i'd be way popular on here

it's just i feel like im missing a certain "sound"

HYPERSONIC is dope,it's far from being a waste of money,nor is sampletank a waste....

I just wouldn't rely on them to make a Whole album,each and every track feel me?

you see the VMA's terror squad - lean back
the beat was coming right out of the motif.
hypersonic doesn't sound anything like that......
but that doesn't mean it's bad,it has it's own sound.

it all depends on what sound your after,it has it's place.

just like sampletank.
 
reality and maybe presence is what soft synths are lacking, but thats just my ear...


I feel what ya sayin'..


Cause My triton destroys every softsynth ive used. And its the classic.
 
Last edited:
skillz said:
reality and maybe presence is what soft synthsare acking,but thats just my ear...


I feel what ya sayin'..


Cause My triton destroys every softsynth ive used. And its the classic.
Click to expand...

no knocking the triton but try eastwest gold orchestra, spectrasonics trilogy, ivory grand piano, musiclab real guitar, etc.

In my opnions soft synths like that blow it out of the water...

And I am very familiar with the sounds since I use the LE at school quite a bit.

as a complete soft synth i would say sonik synth does a good job hanging with some of the hardware modules. I use it quite a bit in my productions.

peace
 
Post something, like the string's, and piano...I mean reality comes from most of these hardware synth's.

I wouldnt doubt soft synths neither, cause there catching up and will soon tear a hole in hardware....

Or maybe the softsynths I've heard are just wack...
 
Last edited:
skillz said:
Post something, like the string's, and piano...I mean reality comes from most of these hardware synth's.

I wouldnt doubt soft synths neither, cause there catching up and will soon tear a hole in software....

Or maybe the softsynths I've heard are just wack...
Click to expand...

One thing I find that software soundmodules for the most part have in common is the lack of sofisticated programming that you find in some, not all, of the patches on hardware workstations and racks. Consider this guitar patch. Press a key and hear a single guitar string note. nothing special. Press it harder and get a different timber. The harder you press the key, you begin to "pluck" the sting. At this point, software modules are losing ground. Now press the string harder and get a quick pitchbend, but while holding the key down, press it harder and wiggle your finger. Now you get the same sound as when a guitarist wiggles his fingers on a real guitar's strings. So far, I've have never, ever, ever seen anything remotely close to this in any of the software soundmodules. That patch was on a Fantom that I played in Sam Ash. When people say "realness", it's meant literally in the case of hardware workstations and the lack thereof with software sound modules. The brass on my Motif is so good that it makes me wish I was doing something with brass when I come across it. The first words that come to mind..."Realness". Some of the guitars are not much better than Hypersonic or about the same quality, but a few are outstanding. The same with the synth patches. There's definately a difference.

One other thing I found out that before I got the Motif I never knew. When I record the Motif's parts to audio tracks in Cubase, I can see that the incomming signal is extremely hot(I can adjust it if I want), but the output signal is not clipping, nor do I hear any clipping. The first time I saw this, I figured, as soon as I do a mixdown, I'm gonna probably hear a bunch of distortion. I did a mixdown to test it but there was no distortion in the resulting wave file. It was loud! I put it up next to a commercial CD and for the first time ever, I was able to make a mixdown that was truly as loud as a commercial CD, with no clipping or distortion. I took it back into Cubase, threw a software limiter on the main out and pushed it even louder, still keeping it under 0db and still no distortion. I could never do that with tracks that were generated completely inside my computer, only with "recorded audio". To speculate, I'd say it's probably because A/D converters that I'm able to bring in a very very hot signal and if it's distorting, then the distortion is not an unpleasant sound. The digital distortion you get normally sounds horrible, but tha audio tracks sounded perfect. I don't know if there was distortion or not, but resulting mixdown which was a combination of Motif parts and stuff generated inside the computer, sounded great and loud as a commercial CD. That's something to think about for the many many people who get all the ultra maximizers, limiters, compressors and find that a 50 Cent CD is vastly louder than their best effort. When I laced some of the artists I produced for, I know that in the studio, my tracks were routed out through hardware gear, compressors, etc, then back into Pro Tools and the final tracks are just as loud as any other commercial CD.
 
^

try real guitar if you want real guitars...

and as far as articulations anything by eastwest or garritan is good. and if you're a rich man you can buy the vienna cube....

a lot of scores you hear in hollywood are made with the vienna soundset. you can program them to sound live. The samples they recorded are amazing.

i still love hardware modules though dont get me wrong. I'm still on the hunt for a good roland xp30 used.

peace
 
skillz said:
reality and maybe presence is what soft synths are lacking, but thats just my ear...
Click to expand...

Gigastudio demos

Trilogy demos

Vienna Symphonic Library (browse to the demos, also listen to other soundsets than these Chamber Strings)

Synful Orchestra demos

I'd say these sounds are not lacking in reality and presence. (Edit: in the case of Synful Orchestra, consider also that it's actually not a multisample playback application but a resynthesis one.) And these are just selections of mostly conventional instrument sounds, mind you. There are endless worlds within worlds when it comes down to evolving synthetic stuff done with software today, think of Reaktor and Absynth for example. Especially with these kinds of sounds, the whole "hardware has more reality and presence" statement has already gone old and is turning into a modern myth as we speak.
 
Last edited:
L. A. Stone said:
Press a key and hear a single guitar string note. nothing special. Press it harder and get a different timber. The harder you press the key, you begin to "pluck" the sting. At this point, software modules are losing ground. Now press the string harder and get a quick pitchbend, but while holding the key down, press it harder and wiggle your finger. Now you get the same sound as when a guitarist wiggles his fingers on a real guitar's strings. So far, I've have never, ever, ever seen anything remotely close to this in any of the software soundmodules.
Click to expand...

This kind of action has actually been an everyday affair in software for years. Changing timbre, changing dynamics, realtime modulation of performance parameters, everything. I suggest you take a look at the current version 3 of GigaStudio, for example.

Edit: A quote of the programming possibilites in Dan Dean Solo Woodwinds, released for the aforementioned program in 2001, just to give a quick googled example: the programming features "allow for longer legato attacks via mod wheel; mod wheel crossfading between pp to ff in real time; breath controller access to real time dynamics; mod wheel variable attacks of the staccato samples crossfaded to legato samples; Vibrato, Non-Vibrato, Portamento, and Staccato keyswitching; Non-Vibrato to Vibrato keyswitching and mod wheel; light versions of all the above; polyphonic aftertouch access to dynamic layers, and others."

And so on and so on.
 
Last edited:
I say, lad...

Synful and gigastudio was quiet good...Too bad i couldnt hear vienna
 
skillz said:
Synful and gigastudio was quiet good...Too bad i couldnt hear vienna
Click to expand...

:) And I again emphasize that Synful is not a sample library or a collection of phrases. It's essentially a software synth that responds very dynamically to just the kind of performance data L. A. Stone was describing back there, making performances as heard in the demos possible.

Also listen to the String Studio demos at the bottom of this page. It's a physical modelling softsynth with emphasis on different acoustic string models -- the string things you hear in these demos are not sample based but generated by software on the fly. Very interesting sounds and very strong presence, to say the least. And as these modelling softsynths are just beginning to get common, these ones are only giving a glimpse of the things to come.

We're living interesting times right now in terms of audio technology and software in particular. It's a better time than ever to shift from habitual dissing of software to preparing and eagerly waiting for the things that are bound to roll in during, say, the next five years ;)
 
Last edited:
Guenon said:


This kind of action has actually been an everyday affair in software for years. Changing timbre, changing dynamics, realtime modulation of performance parameters, everything. I suggest you take a look at the current version 3 of GigaStudio, for example.

Edit: A quote of the programming possibilites in Dan Dean Solo Woodwinds, released for the aforementioned program in 2001, just to give a quick googled example: the programming features "allow for longer legato attacks via mod wheel; mod wheel crossfading between pp to ff in real time; breath controller access to real time dynamics; mod wheel variable attacks of the staccato samples crossfaded to legato samples; Vibrato, Non-Vibrato, Portamento, and Staccato keyswitching; Non-Vibrato to Vibrato keyswitching and mod wheel; light versions of all the above; polyphonic aftertouch access to dynamic layers, and others."

And so on and so on.
Click to expand...

Yes of course, I'm aware that there exists solutions that are capable of doing these things, but how many people around HERE use GigaStudio which is probably the low end of extremely high end, (and impractical) software solutions. I was focusing in on the usual suspects that people actually use or might consider using/buying LOL. Sampletank, USB stuff, Sonic Synth, Hypersonic, etc. These packages pretend to be high quality but are far from what you find in GigaStudio and other very, very expensive packages, or Motif, Fantoms, and Tritons and so on. Just trying to keep it realistic but sure I've know about packages like GigaStudio for years. I've also read about the setups required to effectively run such setups in articles about some of the people/professionals who actually use them. Not the kind of setups you will find in any of our bedrooms.
 
Thats a good point, cause we cant always afford to upgrade on ram, and hardrive space, whenever Gigastudio decides to release another 5 DVD's full of realistic sounds and software.

I wwas listening to this guitar piece, at String Studio, itt wasnt that bad, for a guitar...It'll get there real soon tho.
Im all up for sftware, but until then...we'll just have to wait.
 
Last edited:
L. A. Stone said:
I was focusing in on the usual suspects that people actually use or might consider using/buying LOL.
Click to expand...

But based on these products, saying that "software modules are losing ground" when beginning to compare them to the advanced performance capabilities of hardware units is actually quite misleading. It sounded like this was a common problem in software, when in reality there are heaps of exquisitly performance-responsive sounds in software alone. Did you give a listen to the other products I linked to, by the way?

L. A. Stone said:
These packages pretend to be high quality but are far from what you find in GigaStudio and other very, very expensive packages, or Motif, Fantoms, and Tritons and so on.
Click to expand...

Gigastudio Ensemble, capable of 160 voices polyphony, costs around 240 euros. It has full ReWire support and functions merrily in a 2.5 GHz Pentium 4 machine which is otherwise on par with modern audio production. Trust me, most of the actual audio systems I've seen people describe here (with separate hard drives for audio use and everything) are fully capable of running it. As for its sounds, there is a wide range of prices, going up to the ridiculous super-pro prices, yes. Still, unlike when paying a big amount of money for a single package with heaps of different factory sounds, you can decide to invest more money in the specific sounds you want to be top-notch -- and they really will be.

I'm not trying to advocate the use of any one product, but only stating that the idea of software sounding generally inferior is starting to get really dated.

L. A. Stone said:
Just trying to keep it realistic but sure I've know about packages like GigaStudio for years. I've also read about the setups required to effectively run such setups in articles about some of the people/professionals who actually use them. Not the kind of setups you will find in any of our bedrooms.
Click to expand...

Funny, I've seen so many setups over here meeting those requirements that it would be hard to count them. It's me who's trying to keep it realistic ;) ... A hardware workstation has a lot of uses, but it doesn't justify describing and treating software with dated impressions.

skillz said:
Thats a good point, cause we cant always afford to upgrade on ram, and hardrive space, whenever Gigastudio decides to release another 5 DVD's full of realistic sounds and software.
Click to expand...

The people at Tascam aren't exactly going to come over and force you to cram 5 DVDs full of unwanted sounds into your computer any more than a hardware manufacturer is twisting your arm to get you to install an unneeded expansion for your chosen device :D

But, to reiterate, this isn't specifically about Gigastudio, it's about the quality of software solutions moving way upwards during the last couple of years -- and continuing to go up.
 
Last edited:
You must log in or register to reply here.
Back
Top