We just got the DIRT section added to the synth, and it is just spectacular with all of its various ways of modulating the sound. But, it’s only on the DIRT synth oscillators. It’s only got lowpass filters.
I’m listening to all the wonderful distortions it can create, and am wondering why it can’t be on the DWA engine? Or the WAVS, WTFM, GRAINS, etc.
I’m kind just wondering if a rewrite of the synth’s oscillator/filter section of the OS might be something to consider. Each synth has different filters available, and some would be great on other parts of the synth’s oscillator section - but we don’t have ‘em. We also don’t have the DIRT modulation system - freakin’ incredible sounds to be had there.
Each synth engine really should have access to all of these filter/modulation options, because the sound production would be even greater. The DWA synth, could totally use the saturation, redux, bit crush, sin/+sin, and rectify effects - all of them, really. The DIRT engine could use a bandpass or high-pass filter.
I am of a different mind. My perspective is that each engine is intended to simulate a specific synth, or is a new concept. If everything had the same filters, modulation, etc. each engine ends up losing its focused character.
Has Polyend shared which specific synth(s) inspired each engine, where applicable? I’m not very knowledgeable about synthesizer history, so I would be curious to know and learn more about them.
Hey there @kensoliva, welcome to backstage! Great to have you join us here
There are no specifics mentioned, but reading between the lines, I think you could break it down like this.
ACD - Acid Mono synth. This would be in the realms of TB-303 and to an extent the SH-101.
FAT - The mention of flavors of ladder filters leans us towards the Minimoog
VAP - Poly Analog. Think Oberheim SEM system and Korg Polysix
PHZ - I’d put my money on it being inspired by the Casio CZ line
The rest on the menu are pretty unique synths to Polyend as far as I am aware. WTFM, DWA and Dirt are really innovative synths. It’s pretty impressive if they were indeed cooked in the Polyend oven
Saying the following as pure speculation as I have zero insider knowledge on the topic.
I don’t think we will see major developments of any of the previous synth engines for a couple of reasons;
Backwards compatibility between older projects
CPU limitations
Those are the 2 logical conclusions. The other concern I have is that each synth sounds quite unique to one another. Adding multiple features from other engines risks them sounding more and more the same.
Don’t get me wrong; I would personally love to see this as well, but I’m doubtful it will happen based on my points above.
That is a relevant perspective! While I understand it, with the full filter/drive section, one could just match the oscillator section to the particular filter selection they wanted, and if they wanted something else, they could have that as well.
It would require a bit of learning what each osc/filter section is for (oscillator type/filter model, etc.), but would really open up the architecture to more options. That drive section, c’mon! It’s awesome and would sound excellent on all sources!
As I mentioned to @briannhinton , I do understand this. I’d be willing to concede that the physical modeling synth, the DWA, the GRAIN, and the WAVS synth would be the ones that most benefit from having more filters/drive. They are pretty original synths, and don’t sound like anything else to me.
Also, the GRAIN synth would be even more excellent if the grains were capable of having their sample rate adjusted - like the Clouds algorithm. This would allow for longer grains and some really nice woven granular material - threads instead of grains.
@Polyend, an idea for the next iteration of the Synth; All the different modules from all the different synths within a modular engine. That would be BADASS!!
The grains could be sparse, and then they would be considered a ‘tapestry’ of sorts. Full phrases would be being sampled for the longer grains. Lofi and eerie!
Thank you. That gives me some stuff to research which I think will help me better understand how I might approach those synth engines from a sound design perspective.
