![]() ![]() As the names implies, it uses filtering based on component or physical modeling synthesis and features 4 modulation slots with 6 types of modulation, variable state filter, incredible morphing possibilities and a ton of great presets smartly organized into a searchable matrix. You can input even the most mundane sound and instantly turn it into something with rhythmic and spectral complexity. Supermodal, the new beta release by Polyverse, is a sound designer’s dream. This list is by no means exhaustive and I encourage comments and additions. It then follows that using music production tools in “non-musical” or unintended ways could yield exciting and unexpected results as well.īelow is a list of software (in no particular order) that can be used in both musical and so-called sound design contexts. So once you accept all sounds as possible musical content, it’s a natural step to use “sound design” tools in the production process. ![]() If I use that same sound as a sort of crunchy snare or layer it beneath a kick for extra bite, I’m a music producer. If I’m designing a sound that simulates the impact of a bullet entering a plank of wood, most people would call that sound design. If there is a distinction, it seems tied to the task at hand, rather than the process itself. Having been in the mindset that any sound can be “musical” for some time, the division between sound designer and composer appears arbitrary at best. Pierre Schaeffer’s concept of musique concrète and John Cage’s music and his essay, The Future of Noise – Credo continued to push the envelope and gave validity to further experimentation. Arguably, it’s been disintegrating since the very idea of using “non-musical” sounds in a musical context was first introduced by Luigi Russolo in his historic manifesto, The Art of Noise (1913). The imaginary line between sound design and music production in terms of process has all but disintegrated in recent years.
0 Comments
Leave a Reply. |