{"id":10611,"date":"2013-02-27T13:09:10","date_gmt":"2013-02-27T17:09:10","guid":{"rendered":"https:\/\/noelborthwick.com\/cakewalk\/?p=10611"},"modified":"2013-02-27T13:09:10","modified_gmt":"2013-02-27T17:09:10","slug":"designing-sounds-for-cakewalk-synthesizers-behind-the-scenes-at-digital-sound-factory","status":"publish","type":"post","link":"https:\/\/noelborthwick.com\/cakewalk\/2013\/02\/27\/designing-sounds-for-cakewalk-synthesizers-behind-the-scenes-at-digital-sound-factory\/","title":{"rendered":"Designing Sounds for Cakewalk Synthesizers – Behind the Scenes at Digital Sound Factory"},"content":{"rendered":"

\"Digital<\/a><\/p>\n

When people ask me what I do for a living, it is often difficult for them to grasp the words; I record sounds and musical instruments that musicians use to create music. At Digital Sound Factory we breakdown the instrument to the fundamentals and capture the sounds that make up its character. Each note and playing style is recorded. We are essentially creating a \u2018digital archive\u2019 of musical instrument sounds that render playback on modern computers.<\/p>\n

Creating sound expansion packs for Cakewalk synthesizers involves many steps in the development process. It\u2019s a long journey from defining the scope of the sound set to hearing a sound when playing a MIDI note. This is an overview of how an expansion pack is born and what goes on behind the scenes.<\/p>\n

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Defining the Project<\/em><\/strong><\/p>\n

First we take a close look at the scope of the project and define the instruments and samples required.<\/p>\n

Musicians, engineers, and studio time are not free, so the better prepared we are, the more we capture. Each instrument requires different considerations. Sampling drum\u2019s is different from sampling synthesizers is different from sampling brass or winds. In the case of drums, how the drum should be tuned, number of velocity hits on center to the edge of the head, matching rim shots, various microphone placements, to name a few. Sampling brass or woodwinds will entail multiple volume levels of sustain, more breath, less breath, breath only, mutes, staccato, and more.<\/p>\n

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The Recording Process<\/em><\/strong><\/p>\n

Sampling is similar to recording music in some ways, but in other ways it is very different. The similarities are musicians are recorded in professional sound environments using microphones, mixing console, speakers, etc. The very different part is we are not there to record music. We record the instrument and its characteristics. I can\u2019t begin to tell you how many sessions I have walked into and the musicians are ready to impress with great music. In these sessions we focus on the technique, not the music.<\/p>\n

Each note the instrument is capable of playing is meticulously recorded at various amplitude levels and styles (ie: sustained, mute, fast attack, slow attack, soft, loud, etc.) using 4 – 16 microphones, fast computers, and Sonar. It is imperative that any addition sounds that are not part of the instrument, such as squeaky chairs, breathing, or noise from the musician are identified and eliminated during the recording process. Occasionally there are sounds that make their way into the sample and need to later be isolated and removed using software tools. All microphones, takes, tracks, hard drives, etc. are documented for use during the editing process.<\/p>\n

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Selection and Editing<\/em><\/strong><\/p>\n

After days, weeks, or months of recording, the tracks are reviewed and the best takes are sliced and copied to a new project. This may include as many as 4 to 16 tracks of microphones that can be mixed or separated to create the final individual .wav files for each pitch\/velocity\/etc. Selecting the best \u2018takes\u2019 involves a lot of listening and is essential to delivering the highest quality instruments. Any additional DSP (Digital Signal Processing), such as leveling, noise cancelation, equalization, and amplitude fades are completed at this stage. Sustained notes require looping the recordings to create a seamless pitch at the loop points. Loops are adjusted to lengths based on memory size targets. Each .wav file is tagged with the instrument name, style, and pitch identification.<\/p>\n

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SFZ Creation<\/em><\/strong><\/p>\n

SFZ files are created and used to map the incoming MIDI controller note number to the correct .wav file and location. The SFZ files are text files and use \u2018opcodes\u2019 or operation codes that are used to control various synthesizer program parameters. It contains relevant information about the instrument such as velocity, filter types, envelopes, LFO\u2019s, and others. SFZ files are programmed for each playing style and sometimes combined to create layers.<\/p>\n

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Programming<\/em><\/strong><\/p>\n

This is where the instruments develop personality and flavor. SFZ files can be combined as elements to create layers. Filters, modulation sources and destinations, and effects are assigned. The program is named and saved to the relevant style folder.<\/p>\n

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Digital Sound Factory Recording Video<\/em><\/strong><\/p>\n

This video includes recording sessions for orchestral strings, winds, brass, and percussion in the concert hall and studio, drum kits and percussion, ethnic instruments, and grand piano.<\/p>\n