V is the same as Quad 4x2 on the 2. But it's only right that I also report a few additional problems I encountered. Nonetheless, the glossy graphics of most modern soft synths have been discarded in favour of text windows that retain the flavour of the original instruments. An 8 part multimode allows multisamples to be used with the same charme and ease of use that the original offered. However, appearances can be deceptive.Next
But the technical possibilities also produced harsh artifacts such as aliasing and others, which could not be omitted back then. Each voice offers two Wavetable oscillators with optional sample playback with either 8, 12, or 32 bits of resolution. V, and so is the amount of contour applied, thus extending the range of sounds you can generate with the soft synth. Next, I clicked on the Group button so that every edit was applied to all eight Parts simultaneously. It looks, functions and sounds just like the original Wave 2. V, it is actually possible to switch between several version of the original.Next
V and I were going to be friends. V didn't bother me, and I don't think that they will bother you either. This revealed two things: the maximum Decay time is much greater on 3. As it turned out, this unlikely observation was more astute than I realised. V is not currently editable within this version of Digital Performer. V doesn't offer any form of waveform generation, it includes sample and multisample playback as standard.Next
Not calling a sample a sample is confusing, but everything else in the Transient page is clear and straightforward. There's still much more to applaud in 3. In truth, there seem to be few voicing problems, other than those already mentioned, and I imagine that these could be resolved in an update. This comes with an extensive library of wavetables but, rather than confine you to these, it also allows you to generate new ones by importing waveforms, sample analysis and resynthesis, or even by drawing waves by hand and then interpolating between them. To test this, I switched my Wave 2. Up to eight parts can be arranged in poly, dual, quad, and mono unison modes, with separate semitone adjustments for automatic chords or melodies.
When editing all eight Parts in Global mode, seconds could turn into minutes, so I would have to say that 3. A new graphical page offers easy editing of envelopes, generators and the low-pass filter. Vs, each with 8 times multitimbral capability, allowing for almost limitless sounds. Flanger, stereo delay and reverb are also available. The only notable difference was that — as a consequence of its analogue filter and amplifier stages — the 2. All of its modes are sensitive to the order in which you play the notes, which makes life a bit frustrating if you want a down pattern and are obtaining both ups and downs as a consequence.
For further refinement, several effects are available simultaneously, among these a 4-band equalizer, several overdrive modes, a phaser with up to 12 stages and a chorus with up to six taps. Having done so, the similarity of the two sounds was remarkable. Again, the results were so similar as to be interchangeable. V by seeing how quickly I could programme a favourite organ sound that takes more than half an hour of fiddling to set up on my 2. Not the most intuitive of systems, the Browse window nonetheless provides simultaneous access to your stored libraries, the up to 128 patches within each library, and the eight Parts currently selected. When combined with the additional control provided by the Fine programming, it makes 3.Next
You may view this as added character or as imperfection; the choice is yours. Its reputation for being limited to percussive sounds and delicate, glassy pads is not so much a consequence of what it can do, but rather of what people ask it to do. However, while some of this appears to work, the envelope is not applied, so I view this, at best, as work in progress. Turning first to the Digital window, you'll find that this offers the wavetable parameters and the arpeggiator laid out in ways that make sense to humans. Consequently, most of my concerns relate to the user interface and other architectural matters. The digital sounds of wavetables had been unheard until then and offered sensational sonic evolutions by smoothly going through 64 waves back and forth.Next
I would like to dismiss what I believe to be one of the most enduring but misguided myths about wavetable synthesis. The sound is further shaped by a selectable 12 or 24 dB lowpass filter. I discovered the first of these by hosting 3. Then there's the Global window that, amongst other things, allows you to programme filter cutoff frequency and resonance offsets that emulate the small calibration differences in the original synths. So I backed it off until the two synths again sounded almost identical, with the resonance picking out the notes' harmonics in the same way on each.
This is altogether smoother than the vintage modes and, once the excitement of being able to imitate my Wave 2. V in both Plogue Bidule and Digital Performer 7. . With the filter sweep still in place, I maximised the resonance on both synths and played. Over 2000 waveforms are available within the Wave's 32 internal wavetables for an incredibly broad range of sounds, from animated pads and textures to bass, leads and effects.Next
Nonetheless, this comparison confirmed something that I had always suspected; whereas the amplitude contour on the soft synth is square, the sustain level on my 2. V into any existing production environment. V and their subtle differences in aliasing and other sources of harshness are adjustable. It hummed and its keyboard was ghastly, so it was soon winging its way to pastures new. V, the Graph page finally makes wavetable synthesis clear and intuitive.