i have a MIDI controller with 16 rotary knobs (with start and stop). I am planning to dedicate this controller to exclusively control soft synths I use, being Serum, Sylenth, Spire and all the usual culprits.Mi want to create map pings where the knobs control the same parameters across each synth to not have to re-learn the controls for each synth and have consistency.

What 16 parameters within soft synths do you think would be the most vital in colouring the sound and better used for being accessible from the hardware for tweaking?

 

Parameters you need and controls you often jiggle. But from my perspective, it really depends. Sometime my massive patch uses macros mapped with lot of other stuff so I map that macros, sometimes just modwheel + cutoff, sometimes just LFO speed.
There is no universal way. You can, but it's not useful.

 

IMO you dont do a generic layout for all synths. Go and open up diva for instance in a new project, map everything out the way you want it perfect in there, then save as Diva_template. Now if you ever want to just synth something up you can open up the diva specific template and your stuff is ready to go.

As for parameters, its what you use and want to modulate. What do you notice yourself clicking on mostly? Map those.

 

You could map what most (if not all) developers/manufacturers consider "official" MIDI CC specification. Hard synths by design follow this layout but soft synths tend to use the fundamental ones aswell and if you configure one of those knobs to send out, for example, CC74, it will attach it self to the filter cutoff of basically any soft/hard synth you place on that channel. CC71 would do the same for resonance. Mod Wheel is ALWAYS CC01. Volume is CC07. Pan is CC10.

http://www.indiana.edu/~emusic/cntrlnumb.html
http://tweakheadz.com/midi-controllers/

I have a generic MIDI preset on the MPK25 setup like this across the 12 knobs plus the bank switch which gives 24 controls on total and for the most part it works the same across the board. It's useful but after a while it gets a little boring because you start missing out on what makes the synth unique in the first place. Kind of like going to the most extravagant restaurants but always ordering bread & butter and water.
I get what you're doing, though. I did the same thing because it is useful.

Like @nikon said above, macros are what I usually map and they end up being patch-specific.

 

First of all, all macro buttons - I can't imagine using a synth without assigning macros for performance (even in a production envirenmoent, not live). Then whatever you feel like using the most.

 

A few elements I intentionally left out (in a way) is that I do also own a Nektar Impact LX61+, Behringer BCR2000 and a Presonus Faderport. I use these for most MIDI function but just trying to replicate a hardware synth experience with this small keyboard for soft synths. Some things (like deeper integration and macros) I tend to map to my BCR as it has so many rotaries which are endless and has multiple pages, so is more suited for that.

This keyboard is solely for a 25 key bed with aftertouch and the immediacy of some parameters to try and give a similar experience to something like a Novation Bass Station, for example.

 

Master output volume = 1 (Most important, learn to do your initial gain staging from here)
Filter cut off/resonance = 2
macros = 8 (typically)
ADSR = 4
1 free (maybe fx)

All in all this depends on you, half the time I work on songs and half the time I work on studio infrastructure like this.

 

@Pinkman Like always dropping bombs on the thread. Knowledge bombs that is. Had no clue about the universal midi channels. But I also agree about the bread and butter statement, which is why I went the route I did. I sat down with each of my synths for a few hours and worked on basic stuff, checking out what I used most in each synth and mapping from there. Learned so much about diva while doing this, after switching over from mainlining serum the last month.

 

I'd tell you to watch out for the withdrawals but DIVA is even more hardcore.

 

I learned more about sound synth in a few hours of dedicated Diva research than anything thus far. My brain was exploding with possibilities on that program. I play with diva now when my brain is gone and I just want to go on a sonic ride.

**Edit**

In terms of recreating analog sounds though a VST, is Diva up there in processing power? If you put it on divine mode and really play around in small increments on the synth you can make some real wild noises that don't follow the pattern anticipated. Needless to say Diva opened my eyes to real sound synthesis and made me instantly want some analog toys.

 

Last edited: May 6, 2017

Great question, but I'm afraid it still depends on your song.
More fun anyway to use only a few of the knobs and play with it.