Ah, I see. So technically speaking, tracking and FM synthesis are two different steps. I don't like the prospect of hunting down soundchips in my country (I'll probably find used sound chips in
Raon - a place in my country that's full of people and stuff that you don't expect to turn up there, but I hate crowds *shudders* ). I'll probably stick with soft synths for now :smokedcheese:
The operator algorithms appear to be more for the FM synthesis portions, since the chips are operator-based (DX-7 had 6 sine wave operators, for instance).
Ah, so that's how it is. VGM uses four sine operators for FM synthesis, with the designated generators and modulators assigned for each algorithm. Going to mess with it for a while.
It seems to show a repeat of one of your trends - using a few instruments across many roles and a wide spectrum - which doesn't really add up much to auditory interest.
I gotta find some way to break this wall. I've been experimenting with the PSG channels, and I find the noise channel more suitable for snares instead of the Hoot Samples. I can't seem to make tones in PSG that doesn't sound "square"-ish, but I guess I can use it for the sixteenth note mayhem FM trackers usually do.
I'm getting progress with FL, but I'm becoming more meticulous in mixing. I've dropped Maximus from my tools, since it compresses the audio track too much. I think it's much more suitable for acoustic recording than synthesized and sampled sounds. I also stopped using Limiters, since it causes volume distortions at very high levels. Instead, I've adapted to using only the Panning and Volume controls to maintain the auditory balance.I've been also experimenting with note velocities, but I think it's more efficient to use automated volume envelops for the purpose of dynamics. I've been experimenting more with Parametric EQs, since they let me chisel the freqs in a finer matter, as compared to the standard three-band EQ.
Editing ADSR envelopes for thFont is extra work, but it does wonders for the string patches (like Viola, Cadenza Strings). I've also noticed that arpeggiating certain instruments from thFont causes interesting results (like the Bass Picks & Mutes patch). I still can't do the technique with pianos. When I mix them in a track, they become either too soft, or too overpowering. I can't seem to mix them in the "middle" of the track.
However, the main weakness I'm facing with thFont are pads. The soundfont doesn't have any suitable pads for my interests (or I can't seem to use them properly). The string patches are too strong, but the synthetic pads are usually too soft. Polysynth patch is promising (used it for Sammy's theme last year), but it's only good at high octaves. The Metal and Halo pads are uncontrollable; the sample's reverb is whacked and hard to filter out, and applying a low pass filter makes it sound too nasal. The Space Voice pad has too much attack (ph~AH!), a trait shared by Voice Ooh (ph~OH!). Choir Aah is good, but it sounds TOO voice-like (like the ones used for Catastrophe at Bhava-Agra). Synth voice is good enough I guess, but I need more pads. Echoes is out of the question. Damn echo effect is annoying, unless I want to do techno tracks.
I wonder what ZUN used for Kurodani's theme. The pads during the riffs are quite addicting... They sound like wind instruments, but I can't be sure. My ears weren't trained for music, haha~
Atmosphere and Ice Rain are good for quiet, per-note padding, but I want something more impressive. The Goblins patch...I don't know what I should do with it. It's too quiet, but applying gain makes it sound grainy. :yukkuri:
Sakuya is going to kill me for this post.
