![]() ![]() Adjust each layer’s octave range and volume and you get deep, complex sounds without much ado. Think of them as two pages with the same sound design options, but different settings for them. You see, each of the factory Noisy presets contains two layers. That’s right, play some filters for a change!įinally, the Layer output module lets you bring distortion and grit into the scheme via soft clipping. Next is the low-pass filter module, which is both familiar and uniquely expressive in that there are actually 3 filters and they are keytracked. That’s how you come up with the soundtrack for our impending cyberpunk future!įollowing is the Mixer module where you get to level and pan the resonators while mixing in noise. Bach stuff for a minute (it’s 2022!) and detune oscillators, stack sines, or dabble into additive synthesis. This means you can have harmonies, but you can also ditch that J.S. The rest of the modules include a harmonizer, used to pitch-shift the second and third resonators in relation to the first. It lets you morph the timbre, shape, and dynamics of sounds from a single place. Expression, in particular, earns its name as a control knob meant for live tweaking. Setting these up for some interesting sounds is one thing, but modulating the living daylights out of them via Noisy’s Expression and LFO modulators is how you get those evolving timbres and soundscapes. In turn, each Resonator features an oscillator matrix (to morph between analog waveforms) and a comb filter (to shape the acoustic resonance). The Noise generator offers 4 types of stuff – Velvet (grainy), Pink (full blast), White (dead cable), and Blue (HF noise). The gist of it is that the Noise generator excites the Resonators which react to the pitch you play. Let’s untangle the rest… How to make a noise Granted, this is a very rudimentary understanding for such a highly sophisticated synth. For starters, think of the noise module and resonators 1-2-3 as your oscillator section and use the rest of the modules to mangle the output. It’s all quite easy to follow, which means the only thing stopping you from making a bunch of noise from the get-go may be the synth’s bespoke architecture. The controls are labelled in big, bold letters. The interface is an assembly of pre-wired modules resembling colourful gadgets (something between stompboxes, Eurorack modules, and Ableton processors). ![]() In laying it out, Expressive E went for the same understated polish that imbues its hardware. Synths like Noisy can get real complex, real quick. Noisy was designed to generate highly playable, multidimensional sounds, whose textures and articulations can be easily combined and manipulated. Here, we’ll be having a look at the Noisy synth from Expressive E, where physical modelling and subtractive synthesis are entwined into a highly musical and expressive sound design playground.Ī hybrid between physical modelling and subtractive synthesis, Noisy uses the principles of acoustic resonance to bring life to both electronic and acoustic sounds. Meanwhile, Expressive E’s software pursuits are just as compelling, even though we have at least 5 of each plug-in there is and ever will be. Its osmose and touché performance controllers are the exact opposite of derivative in a market where it’s sometimes difficult to tell products apart. This would be flat-out wrong for someone as dead-set on forging its own path as Expressive E. While Arturia is a great big brother to have, it means having to live in its shadow. That’s both requirements met for qualifying as Arturia’s little brother. Expressive E is two things: French and forward-looking.
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