It is best to always do the opposite of what the crowd does. Swim against the current.

When you go to the supermarket, you only buy food that you can eat, because if you buy too much, you throw it in the trash. There have never been so many presets, samples and software synthesizers as there are today. It is enough for several lives. It's like books, you won't be able to read all of them.

If you're fed up with them, just delete them, install an FM synthesizer like the dexed - FM Plugin Synth https://asb2m10.github.io/dexed/, FM Synths are a vacation for your ears.

I think everyone should be able to choose what they play, when they play, where they play, how long they play, what they download and use. Some play music because you enjoy it, some others will write a number 1 hit, some others will not get it right and some become a good musician, some will become guitarists in a band and others will do film music and some will specialize on a genre and evolves. Some people develop music software themselves. You don't always have to look how great and rich and famous other artists are.

It is not a good trait to make fun of others instead of taking them seriously. You devalue others so that you value yourself.

 

Last edited: Dec 1, 2021

@lasteno, with all due respect, people like you have ruined and are continuing to ruin the music. Music schools are surrounded, at least in Europe, by yokels like you criticize talking about "music played live", and then do other professions as a job.
Always the same story, bla bla bla bla...
Fortunately, those who think like you are are dying out. Bye bye

 

What is the concept of Spectrasonics like? Eric Persing was chief sound designer at Roland from 1984 to 2004, then he started his own business with Spectrasonics. He tried to reach as many users as possible, private individuals and people who earn their money with sound design. In addition, all of his experience flowed into the product. He asked people from all over the world if they could contribute new sounds. That's why the sound library is so big, it should fulfill every wish.

FM Failed Muso - UVI - Falcon - Review www.failedmuso.com/uvi-falcon-review/

Spoiler: In the test: UVI Falcon Plugin - everything under one roof

In the test: UVI Falcon Plugin - everything under one roof
UVI Falcon isn't just another synthesizer plug-in. It is a complete workstation with a number of oscillators, wavetables, granular synthesis and sampling.
I rarely write about virtual instruments, plug-ins, and synthesizers anymore. There are simply too many plug-ins and, especially when it comes to sound generators, there are mostly just variations of products that already exist.

Then there are also the plug-ins that step out of line. Full of endless possibilities. Suitable for several purposes and so extensive that you can even think of it as the only application. So it is with UVI's Falcon.

With thisplugin , I have to admit that I hesitated a bit for a long time and put off the review for a while. The reason for this is that this sound generator is simply so powerful and extensive in its possibilities that a comprehensive test is practically impossible. We are dealing here with a type of plug- in that can be compared with Native Instruments Kontakt, but is not only a sampler but also a synthesizer and workstation. You could also say that it is the ultra version of the UVI workstation, because luckily you can also use the numerous UVI sound banks with it.

UVI Falcon comes as a VST/ AU / AAX plug-in and in a stand-alone version and is protected by Pace iLok. iLok copy protection dongles are not for everyone, but I don't find that impractical because I can use the software on any computer without further activation or deactivation.

Structure and system
The Falcon is multitimberal and each multi can contain any number of parts. Each part has its own output including faders, inserts and aux in the mixer

Each part can then record a program. This contains the actual sound generator with oscillators, sampler functions, etc. Within a program, you can also layer different sounds on top of one another, which can then also be assigned to an area on the keyboard. This is a rather unusual structure for a pure synthesizer, but Falcon cannot be pinned to one function and therefore the structure is more like that of a sampler or a workstation.

If you have the usual "left to right" structure of a classic synthesizer, with the oscillators on the left, filters in the middle and envelopes on the right in the back of your head, you will have to relearn something here, because the Falcon is more from top to bottom.

With the UVI Falcon, an “oscillator” is to be understood more as a sound generator in the broadest sense. It can therefore not only consist of the usual waveforms, but also samples (AIFF, FLAC, MP3, MP4 (with QuickTime on Windows for MP3 / MP4), REX1, REX2, SDII (Mac), WAV, WAV64, SFZ, SND, CAF), wavetables, slicers (with the help of which loops can be divided up at the transients) and granular tone generators. There are also FM oscillators, physical modeling (pluck), an organ with eight drawbars and drum elements can also be found.

All of this serves as the starting point for a sound, which can then be changed with filters, effects, modulators, etc. To name a few numbers: We are talking about 15 oscillator types with seven sampling and eight synthesis sources. The sampler mode alone can then be edited with slice and stretch functions, and the French sound specialist IRCAM adds granular, multi-granular, scrub and stretch functions.

The sound created in this way can be processed with 82 (!!) effects such as EQ, filter, modulation, etc. Even a few meters for sound analysis (spectrum analyzer, tuner and phase display) are included. The effects of the Falcon are of good to very good quality. 23 of them are already known from the UVI workstation. However, one recognizes the demands of UVI on Falcon by the fact that z. B. the in-house Spark Reverb can be found in the Falcon.

Parameters can be edited with eight modulation sources, including various envelopes, multi-envelopes, step envelopes and LFOs. As if that weren't enough, you can also create your own macros. But even here we are not finished yet, because at the end MIDI data can also be manipulated with the event processor. You can use it to create arpeggiators, play MIDI files and create your own scripts using the LUA script language.

User interface and operation
So that this incredible range of functions remains clear, UVI has been able to keep the Falcon astonishingly clear. First, the main views Main, Mixer and Perf (ormance) can be switched.

left panel there is the multi / part view, a list view with an overview of the current multi and a tree view, which offers a quick overview of their structure, especially for extensive patches with many parts, layers, etc. The Perf view consists of a list of the Parts contained in the current Multi, including quick access to important settings such as Part Volume, Pan, Output, Mutes, etc.

The mixer view provides access to the complete mixer including aux paths, inserts, etc. and the main view contains the work area for creating sounds. This is again divided into five tabs Info, Edit, Effects, Events and Mods.

While you are editing the actual sound generation in edit mode, the info area offers very convenient access to the most important parameters of a part. In this way, even extremely extensive settings can be quickly operated using a user-definable control panel. So you can z. B. "put out" the cutoff control and the delay mix and do not always have to struggle through all modules. Of course, all parameters can also be taught in to a MIDI controller via MIDI learn or assigned to the automation of the DAW.

In the right panel you can finally find the preset directory, oscillators, effects, multi-effects, the event processor and the browser for the modulation sources.

If you start with an empty Multi, you create a new part in the left panel, go to the Main-> Edit view and drag one or more oscillators from the right panel in the oscillator browser onto the keyboard below, creating one or more zones .

Soundscapes
Virtual instruments with such a large range of functions are often stuck with the prejudice that they can do everything a little, but nothing really well. You absolutely cannot say that about the UVI Falcon. The sound generation is excellent. The virtual-analog faction sounds organic and without artifacts or irritating swirls. Wavetable synthesis in particular sounds excellent and with the granular functions of IRCAM there are endless possibilities to generate completely new and wacky sound material from samples.

The supplied library includes 630 MB of wavetables, samples for granular synthesis and 458 programs from 20 categories, including an absolutely impressive selection of Arp sounds. Falcon is able to generate deep bass and heavily distorted sounds, which always sound round and real. Depending on the number of layers, effects and the type of oscillators, this can sometimes be a drag on the CPU. However, you will be rewarded with exceptionally dense and varied sounds.

The supplied examples show the immense sound possibilities very well, but some traditional bread and butter sounds will be missed. These can of course also be created manually quite quickly - for example, physical modeling helps quickly to create Mellotron sounds. However, you often want to have quick access to preset material (although it would be a shame to let the Falcon degenerate into a pure preset player as well). Here you can easily access existing sample material or install one of the many UVI libraries - a $ 100 voucher is included with the Falcon.

Sound banks for the UVI Falcon - Ether Fields
However, there are already four expansion packs especially for the Falcon, of which I was able to test “ether Fields ”. This consists of 100 patches, all of which revolve around atmospheric pads and organically structured sound surfaces.

The macros mentioned above in the “Info” area allow quick access to the sound. If you want, you can (and should) use these presets as a starting point for further sound experiments and edit them with the full functionality of Falcon.

Sound designers in particular will find plenty of food for films and videos here. A bed for vlogs is also quick to use.

Conclusion
Describing the range of functions and the operation of the UVI Falcon in such a review simply fails due to the complexity and the large range of functions, since the product manual comprises 194 pages and here some areas could have been significantly more extensive. At first, Falcon can be a little put off, because it's not the usual VST synth, with which you will find a number of buttons and controls with which you are immediately familiar. However, UVI has a number of tutorials available on YouTube:

But once you have internalized the structure of Multi, Part, Program and Layer as well as the role of the oscillators, creating the sound is a great pleasure. With the Granular Synthesis alone you can stop me for days and you haven't even played great with the events and haven't even touched the scripting.
With the Falcon you get a lot of synthetic sound generators, a sampler, a more than complete arsenal of high-quality effects as well as the possibility of significantly expanding the functions via LUA scripting.

On the other hand, you can also easily use existing samples and loops and pull them through the mangles. Or you can rely on UVIs for numerous expansion packs.

For 349.00 euros you get a sound generator that you can probably spend years with and that covers practically all applications. Incidentally, such multitimberal plug-ins also simplify the songwriting workflow, as you can create suitable multis, which then contain keys, drums, solo instruments, pads and effects and are immediately ready for use.

Thanks to the Perf view, Falcon is also suitable for live applications and I could actually imagine that thiplug-in could even be the only sound generator that you need on the hardrivre . In any case, the UVI Falcon has what it takes to become a classic à la Spectrasonics Omnisphere and u-he Zebra.

Unfortunately there is no demo version. However, you are guaranteed not to go wrong with the purchase of UVI Falcon - if you are willing to get involved with its wide range of functions.
Source: https://nachbelichtet.com/im-test-uvi-falcon-plugin-alles-unter-einem-dach/

 

Last edited: Dec 1, 2021

so @clone and @Donut Nyamer sorry for slow reponse, but the ones like drum designer i have checked out were >sample magic Klip, >wave alchemy Drumvolution (several iditerations), >in session Riff Generator. also audiomodern has alot of generator tools but i havent checked those out. i like drumvolution and klip.
the only advantage i can see with designer is it can sequence a rapid fire of alot of hits in one beat

 

Before you comment on Electronic music
YOU should atleast have knowledge of what you are talking about.

The people who created House and Techno music used Traditional instruments


The creator of Techno music Juan Atkins/Cybertron uses traditional

Scan 7 - Detroit techno Traditional keyboardist

Mad Mike Banks used traditional instruments/live band in Underground Resistance

Lots of
Chicago house music were traditional
Gospel House/Soulful House
Peven Everett - Traditional
Glenn Underground - traditional

Vince watson - Techno traditional keys
Funk d void - Techno traditional keys

Adonis Smith - Acid house Chicago
Traditional Bass

Tortured Soul - soulful house
band/instruments

Not everyone is Lazy EDM Cuntz

 

Somehow I knew you'd say this and you're right, it is nice. I played with it a little bit but I don't think I've come across SM Klip before. Thanks for getting back to me.

 

Falcon flies high and it's vision is acute.

 

I agree, Falcon itself is really powerful - its like if Serum, Omnisphere, Reaktor, and Soundtoys had a baby.

I just find their sample libraries underwhelming and not worth the hard drive space they take up.

Theyre more like archiving the stock presets/legacy of the synths, they haven't elevated them in the way Arturia has. I personally like samples to be grimey and characterful - things that would be difficult to program with a synth. UVI's approach was to sample all they keys and round robins of like a pure sine of a synth.

 

SM pulled klip and the videos of it, but if you can find it laying around it has nice modulation features built in. which are just kontakt script but the version i saw worked real nice

 

Bought a Les Paul but all I can get out of it are these stupid plink plink plunk noises

 

I frown when plinking my guitar gently squeaks.
-The Beatles + System of a Down collab

 

Anyway, I found Falcon to be groundbreaking; in that you can navigate it w/ cursor keys. Something that doesn't work w/ Kontakt, despite this innovation only being around for about eight decades.

I quite liked all the synthesis (and sampled synths) stuff, it was all fine. (Just looked at a handful, so far.) I rly didn't like the "real" instruments (mostly pianos). I may have been spoiled by excellent Kontakt stuff (Shreddage, Hammersmith et al). Even the hyped inst.

Spoiler

I rly dislike acoustic samples or w/e they're called. It's like Ilya Efimov except unusable.

 

Half my mouth if frowning and the other side is trying to not crack a shit grin. Are you French? Can't tell where the compliment begins or the insult ends.

 

I mean, I like Ilya Efimov, it's just as if someone had deleted all the keyswitches and velocity layers?
I only tried Sunbird and Strat-o-matic.

 

i think i said it about protools, but it applies here too: it isn't about how good or bad a plugin/DAW is, it is the fact that it hasn't been cracked for years positioning them as some kind of holy grail/unbeatable software

 

It's just me but I never get any joy from acoustic guitar libraries. It depends what you use it for and how. Sampling would be great, or chopping your own samples to chuck into your drum sampler MPC style would be far too idea for this.

But if it's for recording real music then it doesn't usually sound great past a basic level, they leave a lot to be desired in more complex sense. Take that with a grain of salt I guess because I stopped bothering with them a few years ago and focused on buying content that I don't have readily available to me. Such as ethnic libraries or world music collages.

 

thx for the heads up, using it now

 

I'm with you, my doh-making chum, @Donut Nyamer, feel pretty much the same way; I keep looking for GuitarTeq! There are some quite nice things out there, but I think one of the few "guitar" things I've enjoyed playing is the Amplesound Ethnic Uke. Just like the twang, I prefer more ugly, weird, unnatural beasts. The Falcon "acoustic" libs have all sounded quite synthetic.

 

This was the best post for this hybrid. Doesn't matter how much you can boast doing, if every aspect you brag about is highly limited