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Sound making with tools


Theo Verelst
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Working on the Kurzweil "correction" I want, to bring the types of sound back I used to aim for and still want, I encountered various methods in the signal graph inside the machine that respond, lets say, to persuasion. Like "you want the complete frequency range from a sound, put this effect in so and so mode", or "of all these instrument variations you'll mostly get the most bright or dull one, no matter what you do".

 

At some point that whole becomes like a maze, with some interesting sound aspects along the way, and a couple of information points, if you happen to get deep into the high grade studio processing game, and the whole appears to never come to it's full potential even though I've got sounds (actually songs with sounds in them, together with a corrective AUX2 chain and essential master effects settings) that are better than anything thus far and a few certainly worth my while.

 

Somehow at the end of an iteration of adjusting the corrections (and a lot of other boring stuff) a battle arises between certain sound characters and that has now come to recognizable sound forming aspects like sample reconstruction elements in the master effects bands, immense Lexicon like reverb tails coming out of nowhere, and much stronger polyphonic mix elements than I've ever heard.

 

T

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