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How do you organize of synth presets and recollect what they sound like?

Charlie, your approach seems fascinating. Like a Samurai with no doubts that just acts.

Do you always trust your initial decision and never consider going back? And have you ever gone back to revisit a library and found sounds that you like now but had initially dismissed? Or maybe sounds you selected but then don't like that much?

My perception of stuff (anything from synths, movies, books, food, etc) changes constantly. I like to think it's because my taste/perception gets better, but I'm not always sure about that. Sometimes I dismiss a book and then a couple of months/years later I revisit it and see how good it is. It's just that I wasn't ready for it yet.
 
What is your process for keeping track of your favorite synth sounds/presets? Do you use adjectives to categorize them? Do you limit yourself to a certain number of presets ?
I sometimes use a preset, may be favorite it, but when I start to work on something new it feels like I just put a Midi/pattern region in and iterate through so many presets, trying to audit them all and search from scratch. Even if it results in something fresh each time, obviously this is not an efficient/scalable solution. What do you do?
By mood/theme for the sake of simplicity.
 
Charlie, your approach seems fascinating. Like a Samurai with no doubts that just acts.

Do you always trust your initial decision and never consider going back? And have you ever gone back to revisit a library and found sounds that you like now but had initially dismissed? Or maybe sounds you selected but then don't like that much?

My perception of stuff (anything from synths, movies, books, food, etc) changes constantly. I like to think it's because my taste/perception gets better, but I'm not always sure about that. Sometimes I dismiss a book and then a couple of months/years later I revisit it and see how good it is. It's just that I wasn't ready for it yet.
I always trust my initial decision. That is the essence of curation. That is one thing I've always been good at - forming an opinion quickly and without regret or second-guessing. I can hear a sound or a song once and decide if I think it is awesome or if it sucks balls.

Of course, when it comes to sounds, that decision is tempered by experience - if I think Juno-106 pads suck and therefore didn't buy the synth when it was brand-new, but then later find them useful when playing one at an outside studio, then maybe I update my preferences. (But this example actually never happened. I think the Juno-106 is weak sauce and although I got one in a trade at one point it never made it onto a track and I swapped it for an MS-50 I think.)

I still like all the stuff I liked when I was young: Boston's first album, AC/DC, 1970 Plymouth 'Cuda convertibles... but things get added as they appear: My Life In The Bush Of Ghosts, Simple Minds "Sons And Fascination", 2006 Dodge Magnum SRT-8, etc. Those new things don't replace old things, and they don't make me like the old things any less.

Like, I don't know how to make music like AC/DC, I don't want to know how, and I would never need to know how to do that - but I can tell that the music is good in more ways than it needs to be.

In terms of sounds, early on it was kicks and snares from Zeppelin, then add to that the drums from The Power Station's "Some Like It Hot" and Bowie's "Let's Dance", etc. They all stack up in my preferences file. That's why I need such big hard drives!

This past couple of weeks I've been transferring tons of DAT tapes into the computer, and I found complete versions of sample libraries that I had previously culled ruthlessly, like Zero-G DataFile 1+2, X-Static Goldmine, etc. Stuff from v1 of the sample CD era. I had reduced these collections massively, discarding about 80-90% of the sounds, but when I found the complete DAT tapes I transferred them into the computer, did a "strip silence", re-evaluated what to keep, and then compared my 2020 picks to my 1995 picks. Almost identical. Like, scary accurate.

So I guess I am lucky that my tastes don't really change. They might expand, but still... suck is suck regardless of decade.
 
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I always trust my initial decision. That is the essence of curation. That is one thing I've always been good at - forming an opinion quickly and without regret or second-guessing. I can hear a sound or a song once and decide if I think it is awesome or if it sucks balls.

Of course, when it comes to sounds, that decision is tempered by experience - if I think Juno-106 pads suck and therefore didn't buy the synth when it was brand-new, but then later find them useful when playing one at an outside studio, then maybe I update my preferences. (But this example actually never happened. I think the Juno-106 is weak sauce and although I got one in a trade at one point it never made it onto a track and I swapped it for an MS-50 I think.)

I still like all the stuff I liked when I was young: Boston's first album, AC/DC, 1970 Plymouth 'Cuda convertibles... but things get added as they appear: My Life In The Bush Of Ghosts, Simple Minds "Sons And Fascination", 2006 Dodge Magnum SRT-8, etc. Those new things don't replace old things, and they don't make me like the old things any less.

In terms of sounds, early on it was kicks and snares from Zeppelin, then add to that the drums from The Power Station's "Some Like It Hot" and Bowie's "Let's Dance", etc. They all stack up in my preferences file. That's why I need such big hard drives!

This past couple of weeks I've been transferring tons of DAT tapes into the computer, and I found complete versions of sample libraries that I had previously culled ruthlessly, like Zero-G DataFile 1+2, X-Static Goldmine, etc. Stuff from v1 of the sample CD era. I had reduced these collections massively, discarding about 80-90% of the sounds, but when I found the complete DAT tapes I transferred them into the computer, did a "strip silence", re-evaluated what to keep, and then compared my 2020 picks to my 1995 picks. Almost identical. Like, scary accurate.

So I guess I am lucky that my tastes don't really change. They might expand, but still... suck is suck regardless of decade.
I find a difference between this sound sucks and this sound is not right for my music. Am I correct in presuming that you do a lot of culling of sounds that you don’t think suck outright so much as you just know they will never find a place in your music? Or is there no real difference to you between those categories?
 
I find a difference between this sound sucks and this sound is not right for my music. Am I correct in presuming that you do a lot of culling of sounds that you don’t think suck outright so much as you just know they will never find a place in your music? Or is there no real difference to you between those categories?
Well, I do keep some sounds that are "a great version of a lame sound", like really characterful samples of an Arp Solina string ensemble keyboard for instance. And from working on tv series that have a wide range of needs and some "wild card" cues that are out of character, you never know what you're going to need. That's why I have stuff like "Austin Powers / Carnaby Street 1964" drum loops, or wah-wah guitar chicka-chicka loops, etc. Stuff that I might only need once in a decade, but only for a few seconds, and would take half an hour to make from scratch or 15 seconds to find the loop, and they're really only worth 15 seconds of my time....

When I needed to come up with tons of high-energy screwball casino caper jams for the series "Las Vegas", I could fire up Ableton and very quickly grab some drum loops from the "Oh Behave!" folder and some wacky bongo solos from the "Barney Rubble" folder, throw down a bass part using Trilogy acoustic bass, some Wurlitzer chords from Logic's Vintage Electric Piano, some zany organ stabs from Logic's B-3 emulation, and drop a few horn hits with ping-pong delay and... DONE. Three minutes of zany screwball caper music in the can. Half an hour, tops.

So I do keep things that are not right for my style of music... as long as they're a great version of whatever they are.

But to me, soooooo many sounds are just plain NOT GOOD. Weak, lame, half-assed, under-nourished.... like they're going to need so much help, and it's going to be such a struggle to make them work... and at this point I can kind of tell. But so could anyone else (I would hope). Plus, if the only sounds you have in the browser are all fantastic, with no suckage to be found, then life gets a little easier, but it's still a chore sometimes to get to the bottom of the list even after that list has been ruthlessly shortened.

So I guess there's not really that much difference between those categories you mentioned.

Good = I like it, even if I might not know whether / when I'll ever use it. Keep it around just in case.

Bad = I think it's lame / I don't like it / even if I had to use it I would want a better version or would rather hear silence.
 
@charlieclouser I am practicing the art of being brief, call it Audio Haiku.

A sound has value when it is needed.
Not before, and not after.
Quantity has no value.
Relevancy is all that matters.

Now Ima gonna go grab a Sapporo.
A sound has value ONLY if you can find it! That is why we categorise
 
Peoples:

I have a different approach to all this, that I am developing. I will link the thread below. Appreciate your comments. After some discussion of usibng Excel, or a database, I finally decided to work this way

1] A Master Audition Template with ALL my sounds. Categorized, folderised, subfolderised, according to score order and more. Using Keyswitched masters (with expression maps)
2] Copying this folder then culling it and making "Sub-Master Audition Templates" . For example I am creating one for Aleotoric Orchestral sounds (only) , Another perhaps for only legato strings. Etc etc. These folders are easy to create after creating the main Master Audition Template. It's mostly a matter of deletion.

Note: When I have a new library, I first create a template with "Only [orchestra name]" in it. I then use Cubase's import Tracks from project, to import these tracks into my Master Audition Template, then I distribute these sounds into their relevent categories in the master. That way I awlays have access to all my sounds.

I use a similar strict naming system to above. I don't cull sounds because I agree that a naff sound in one context can be great (or even funny) in another context.
I think orchestral and "real" instrument sounds need a different categorisation method than synths. Orchestral instruments have pretty familar aerticulation categories.
Basically, my view is that it's a fools errand to try to categorise every synth sound. I have over a hundred synths and Omnisphere alone has 13.8 gazbillion sounds - one for every year since creation began.

Therefore, I shall be creating a Sub-Master Template for Favorite synth sounds - cross platform across all synths, with no intention to go through every sound, more to keep "found" sounds as i come across great patches not for use in my present moment. I might simply use track presets or archives for this task, then perhaps import these presets into a single Template.

For a full discussion of the in's and outs of all the issues, here is my (our) thread here:


Z
 
Posting this question here cuz i'm lazy to start a new thread.

Is there an easy way in Kontakt to move quickly through presets?

I'm thinking of an organic synth like Straylight or something, where you want to go through each preset quickly without having to mouse click everywhere.

Specifically, see the attached picture. Is there a way to assign these left/right arrows to midi controller?

How do you organize of synth presets and recollect what they sound like?
 
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