Hey Scott, pro sound designer here. You can take this to the next level by programming a source to the pitch of each oscillators. This allows you to change the intervals of the oscillators. For example, you can use the mod wheel to change from major to minor chords.
@michaeldulsky84923 ай бұрын
It explains why the Behringer Poly D works to me. I own one and was a little confused by them calling it A Poly synth but now it all makes sense. A Paraphonic with a Poly like sound. Much apprecited video... Thanks
@lukenairn55853 ай бұрын
Thank you for showing that technique! I always loved that sound and did not know how to produce it. Really good demo Scott.
@robertcarhartjr62343 ай бұрын
This was a cool rundown on some of the classic sounds many of us grew up hearing. Well-explained and demonstrated. Thanks for this, Scott.
@robertreid82413 ай бұрын
The 8 minute mark was almost Faithless "Insomnia"!
@MS7.73 ай бұрын
That's explain why my micro freak sound thin in Paraphonic mode. Never knew that! Great work, you keep inspiring me to make better sounds.
@winddealer13 ай бұрын
Thank you Scott for another great learning video. Triads are clearly the spirit of your video. Using a tritones instead of a perfect fifth can also lead to creative exploration using the techniques you described so well in your video. Happy accidents make for more learning opportunities. Gratefully.
@Vareso3 ай бұрын
Great stuff! 👌😄
@bodhibeats82573 ай бұрын
Great video! A little bit of music theory nerdery to add to it: when you use this technique, the *quality* of every chord is going to be the same. If you set you oscillators to play a C minor triad when you play C, then every note is going to play a minor triad. This is going to clash with the harmony of many songs, because major and minor keys contain both major and minor triads. The key of C minor, for example, includes a Bb major triad - but your oscillators will be set to play a Bb *minor* triad when you press the Bb key. In that sense, this technique doesn’t really work with traditional functional harmony. When playing this way, you are using a single chord quality all the time. You’re moving the same chord shape around - but most songs don’t have only chords that are all the same shape. Moving the same shape around is sometimes called “planing” by keyboardists. It’s a technique used a lot in more modern styles of jazz and jazz-influenced musics like Neo Soul. And, like you demonstrate, in a lot of dance music! It’s an awesome sound and a fun technique! Just be aware that if you try to do this over a song that was written with traditional functional harmony, you’ll almost certainly wind up with some clash-y chords. When you do this, you’re kind of stepping outside the realm of traditional harmony. Which is dope! 😁
@ScottsSynthStuff3 ай бұрын
An excellent explanation! I had originally thought about including this in the video, but I thought it would get a little deep for most people. It's what gives these EDM songs this unique sound, because the chords aren't what you would expect.
@ilovecatsandsynths97023 ай бұрын
The Behringer Poly D is a misnomer, but imagine if they had called it the Para-D? 😆
@geekmastermind3 ай бұрын
Well, to add insult to injury, I think you meant the "third." A tritone is something else entirely. 😉
@DG-ss1gc3 ай бұрын
Super cool, It’s interesting to note this technique, and then how quickly the sound in dem shifted after people started making supersaw, I’d love to know who was first to make the initial supersaw? Or was it made by Roland with the advent of the JP8k?
@yamahamotifxs3 ай бұрын
Hi Scott! I also pre-ordered the Montage M7 and am waiting for it to finally arrive in Europe. You once made the SuperSaw with the AWM2 motor on the old Montage 7, and I would like to know if the SAW 2 Wave in the Montage M Oscillator is a thicker multi-layered SAW oscillator? The traditional Super Saw is originally 7 SAW Waves, which can be detuned with the Detune button. The higher the value, the stronger the Detune effect. This is an excellent solution for making great Bass, Pad and Lead sounds without losing additional polyphony with Unison 2-4. The original Yamaha AN1x does not yet have Multi Saw, but the module version does, and so does the PLG150 AN extender that can be added to the Motif ES series. Is this SAW 2 a Multi Saw in the Oscillator section or has nothing to do with it? If it's not a Multi Saw, I hope Yamaha adds it to the AN-X motor in a later update. I also have a Fantom 7 that I made some decent Super Saw sounds on, but I didn't use the SuperSaw there because it's just a sample and doesn't sound good. I set Saw Wave to Unison 1-7, but that uses a lot of polyphony, and the Fantom's polyphony isn't the best. Fantom : kzbin.info/www/bejne/bWnFgGuEa7ydr80 I would like to create these sounds on Montage M as well. They are currently ready for Fantom and Korg Nautilus. These sounds were recreated from the JP6K VST, but with the Zen-Core VA engine, some factory Super Saw for the pad sounds. After listening, and with some parameter settings, the sounds sound more or less the same. Nautilus does very well in polyphony. kzbin.info/www/bejne/fZ3Tqn1paaqFprc
@narfsounds3 ай бұрын
Re Moog: Probably because the 3rd oscillator was mostly used as an LFO/Modulation source so effectively had 2 OSCs when used that way and its easy to forget the 3rd OSC
@valleyken3 ай бұрын
- Cool.
@laveaux89153 ай бұрын
got any tips on making the yamaha poly after touch control the hydra deluxe after touch. i have that set up and cant seem to figure it out.
@SiiliViin3 ай бұрын
I do not know any song with this effect in use at moment. Maybe any example? And what kind of synths you used at 80es and 90es which did not have polyphony!? All 80es famous synths have polyphony.
@ageshero3 ай бұрын
If you had to sell all your synths, would you just keep the montage?
@ScottsSynthStuff3 ай бұрын
Probably....it's the one synth I have that can do just about everything. I would definitely miss the Hydrasynth however!!