- Splork
- Medlem ●
- 2007-02-20 10:36
Det följande är klippt ur en artikel i en gammal Sound on Sound:
http://www.soundonsound.com/sos/1994_articles/feb94/analoguesounds.html
Jag följde "receptet" i i den större samplern i Reason, och fick fram ett så himla bra ljud! (Det blev inte lika läckert med syntarna i Reason.)
Jag panorerade ut oscillatorerna lite också + använde samplade vågformer från olika syntar. 6 db filtret var perfekt för att får ner de värsta spret-övertonerna och ändå behålla "buzzigheten".
Det blev verkligen skitläckert, var bara tvungen att förmedla.
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ERSATZ SOLINA
Let's turn our attention to another analogue string classic, the Solina String Ensemble. This has long been hailed as one of the seminal string machines of the '70s and even beyond. Much of what we've learned from the previous example can be applied to recreating this sound; however, it is a little more complex in structure. Beginning with an analysis of the workings of the actual machine, we find that the No Entry sign across the chorus effect on your synth can be removed -- the Solina used chorus within its design. What concerns us first is what happens before the chorus.
A crude description of the Solina's signal path would be thus: the basic waveform (a sawtooth) is split and fed into three separate pitch modulator circuits (like a chorus but minus the dry signal). Each of these modulators applies vibrato at a different speed, and the three signals are then recombined with the dry signal. Already you should see a similarity with our first string sound. The main difference is that all the 'tones' are modulating but at unrelated rates. This in itself sounds fairly full, but to round the whole thing off, the signal is fed through our friend the chorus, which blurs the pitch sum and differences even further.
To recreate this, it's necessary to use at least three tones on the digital synth. You could use four, but the polyphony on your synth may suffer, particularly when used multitimbrally. If you don't have three different sawtooth samples at your disposal, don't worry -- due to the rather more intense modulation of this sound, and the fact that the Solina has a thinnish nature in the first place, using the same wave doesn't seem to matter. As far as detuning is concerned, leave one tone alone, and tune the other two plus three and minus three cents respectively, or whatever sounds best on your machine. Now to set the modulation parameters. This requires the modulation of two of the three tones, leaving the third one straight. Experimentation revealed this to 'tie' the sound together rather nicely. Turn to the LFO page and set the pitch modulation rate of each tone individually. If there is an LFO sync switch, turn it off, as we don't want the LFOs' cycles to reset each time a note is played. The modulation rates should average fairly fast: as a rough guide, the JV880 rates I used were 104-106, around 7-9 cycles per second.
To complete the waveform picture, route all three tones through the chorus. The best setting for this is pretty much a matter of common sense and personal taste.
Having achieved the waveform combination, the filter is next in line for examination. Since the Solina is characteristically very bright and airy, it would not be entirely inappropriate to bypass the filter altogether. If this is simply too bright, then globally rolling just a little off the top using the LPF should bring it into line. Roll off too much, though, and we're not talking Solina anymore!
To complete the simulation, the languid amplitude envelope that characterises the Solina so well can be applied, comprising a slow attack and a long release time. The real instrument actually has a monophonic envelope generator, which means that it restarts its cycle only when all the notes are released and a new note or chord is played -- an attribute I always refer to as the 'Solina Suck'. Any notes whose release time is still sounding are abruptly cut off as the envelope cycle begins anew. Some synths can be made to reproduce this effect, but otherwise we have to live without it. Some may prefer things that way!
