![]() ![]() For my own instrument designs, I've been using the low-pass filter to change the resonance, giving the impression of a velocity change in the dynamic change of voice without actually adding any excess. wav sample velocity layers of the mega-MB instruments with the exception of sounds that I don't want to hear coming out of the instrument anyway, such as a hammered piano or the thwang of a guitar or the squeak of a saxophone that misjudged his breath. In general, I don't hear a whole lot of difference in the. There are other instruments that I would like to apply that same technique to. He's getting the Mighty Mouse award from me while I study how he did that. ![]() ![]() It sounds just like a harpsichord to me, instantly recognizable for what it is supposed to be, without any obvious piano synthesizer undertones to spoil the effect. What I appreciated most about the McCoy harpsichord was how he was able to take a very basic and small sound palette and extend that into a full array of 16 distinctly different sounding harpsichord instruments and combinations. I understand how to downsize a sample library for MB economy, but my knowledge of how to build a harpsichord from scratch is next to nil and I will probably never write a score for one unless I'm dressing up for a Medieval Faire. ![]()
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