Trillian , 500 synth bass patches here at last

[cane creek]

Get yourself over to Spectrasonics the synth bass patches are finally here

[jamwerks]

thumbsup thumbsup

[zvenx]

and have been there for about three weeks :-)
rsp

[Dr.Wu]

yep-i already used them in some productions. Very inspiring stuff.
Monopolis on Vimeo
Metaville on Vimeo
Electrilian on Vimeo

[jonnypowell]

Originally Posted by cane creek

Get yourself over to Spectrasonics the synth bass patches are finally here

Had them for weeks.. They're great.

[elambo]

Spectrasonics (or spectrum) was supposed to notify us when these patches were ready, either here on GS, or via an email, or both. Did either of those things ever happen? Not that I can remember.

This reminds me of those times I was sailing with my Dad when black skies and booming thunder rolled in from the West, and we'd spend a couple minutes preparing to flip horizontal once it hit. Then the sails went empty. Nuthin'.

The hype around Trilian was insane before it was released. Now you could hear a pin drop. I think, like me, a lot of people realized it's just a bass sampler and there's not really much to get excited about. It sounds good, but it didn't part the seas upon hitting that first note. It's just a bass sampler, and still a little too close to Trilogy for my taste. I like Bridge Bass. Maybe some others, too. The upright... ehh... I still prefer the basic tone of Trilogy. Trilian's does sound more like a "real" upright because of all the subtleties it includes, but I'm not nuts about its voice.

It's a synth powerhouse though. This is for sure. If you can't find an appropriate synth bass in Trilian then you need to grab a job application next time you're in Target because this business isn't for you.

[cane creek]

Originally Posted by elambo

Spectrasonics (or spectrum) was supposed to notify us when these patches were ready, either here on GS, or via an email, or both. Did either of those things ever happen? Not that I can remember.

I visit various forums regular and didn't know about these patches i only noticed them when visiting spectrasonics website to update RMX lastnight......

[teacue]

Originally Posted by elambo

Spectrasonics (or spectrum) was supposed to notify us when these patches were ready, either here on GS, or via an email, or both. Did either of those things ever happen?

Here on GS:
http://www.gearslutz.com/board/4790033-post458.html

post 458 (page 16) from this thread:
http://www.gearslutz.com/board/new-p...-trillian.html

Best regards

[elambo]

Originally Posted by teacue

Here on GS:
http://www.gearslutz.com/board/4790033-post458.html

post 458 (page 16) from this thread:
http://www.gearslutz.com/board/new-p...-trillian.html

Best regards

I follow these threads and I don't remember seeing that buried amongst it. It should be a new thread (as it is now) but DEFINITELY an email to registered users. I'm registered - I didn't get one.

[zvenx]

don't shoot the messenger, but spectrasonics are at least for now using twitter to do these type of things.
rsp

[Phaidon]

Originally Posted by elambo

The hype around Trilian was insane before it was released. Now you could hear a pin drop. I think, like me, a lot of people realized it's just a bass sampler and there's not really much to get excited about. It sounds good, but it didn't part the seas upon hitting that first note. It's just a bass sampler.

Completely agree!

[elambo]

Originally Posted by zvenx

don't shoot the messenger, but spectrasonics are at least for now using tweeter to do these type of things.
rsp

You mean Twitter? I hope not (although I don't know what Tweeter is) - that would be ridiculous.

[zvenx]

Originally Posted by elambo

You mean Twitter? I hope not (although I don't know what Tweeter is) - that would be ridiculous.

lol I am so opposed to it, I cant' even spell it correctly..


http://twitter.com/Spectrasonics

ironically as I go there now I see there is an update to stylus RMX
rsp

[spectrum]

Originally Posted by cane creek

I visit various forums regular and didn't know about these patches i only noticed them when visiting spectrasonics website to update RMX lastnight......

There were about 35 different forum announcements and press releases we did worldwide and the twitter news feed and the updates page announcement and many user generated threads here on gearsluts (just search Trilian and you'll see how many announcements in various threads there were).

So the news was widespread. BTW, you can always check instantly using the check for updates function directly on the front panel of the instrument splash screen/credits page too, which is pretty handy.

We don't send emails about every update, because there are so many and we don't want to bombard our users with emails. Use the RSS feed on the Twitter page if you want to be notified of all the updates immediately...that's the best way. (or just click the Check for Updates button if you're curious on your status)

Glad you are enjoying the all the new sounds. :-)

[spectrum]

Originally Posted by elambo

The upright... ehh... I still prefer the basic tone of Trilogy. Trilian's does sound more like a "real" upright because of all the subtleties it includes, but I'm not nuts about its voice.

You should spend more time with it. You can get a LOT of different tones out of it, since there are two different mics and two different DI channels. Also, the various sustains sound really different too. The mixing and eq compression channels also add tons more possibilities than the original Trilogy Acoustic, which of course is also included.

There's a lot to explore there....21,000 samples worth for the new acoustic alone!

In articular, the new Trilian Acoustic Bass has been very well received and is in use by lots of major artists. Trilian is winning lots of awards, getting great reviews, top sales, etc.

For those that are new to Trilian, check out the Acoustic Video demo here:

http://files.spectrasonics.net/instr..._Web_small.mov

[barbital]

Just heard back from a friend who spoke about the Trilian acoustics. They are truly amazing from what I've been told. He was going to hire in a real upright bass but decided to try Trilian and hasn't looked back. He also liked the electrics too, but he preferred the depth and richness of the acoustic bass the best.

It is indeed the best virtual bass available at this time.

Ben

[joris de man]

Originally Posted by spectrum

There were about 35 different forum announcements and press releases we did worldwide and the twitter news feed and the updates page announcement and many user generated threads here on gearsluts (just search Trilian and you'll see how many announcements in various threads there were).

So the news was widespread. BTW, you can always check instantly using the check for updates function directly on the front panel of the instrument splash screen/credits page too, which is pretty handy.

We don't send emails about every update, because there are so many and we don't want to bombard our users with emails. Use the RSS feed on the Twitter page if you want to be notified of all the updates immediately...that's the best way. (or just click the Check for Updates button if you're curious on your status)

Glad you are enjoying the all the new sounds. :-)

Top class, as usual.

[TEMAS]

Am I the only one that thinks these Synth patches are really uninspiring? Yes they're well recorded, even though they've eq'd the low frequencies way too much, but they all sound the same. All those glorious old keyboards and thats all they could come up with? Its like they've got three ADSR settings and they apply one on of those three settings to the filter cut off of every preset and call it day. These sounds are stuck in the early nineties - how depressing.

BTW - I think the acoustics and electrics sound pretty good, if only my 8-core / 10gb mac could cope.

[Silver Sonya]

Originally Posted by TEMAS

Am I the only one that thinks these Synth patches are really uninspiring? Yes they're well recorded, even though they've eq'd the low frequencies way too much, but they all sound the same. All those glorious old keyboards and thats all they could come up with? Its like they've got three ADSR settings and they apply one on of those three settings to the filter cut off of every preset and call it day. These sounds are stuck in the early nineties - how depressing.

???

You can adjust every aspect of every parameter of any sound you want.

Can you give us an idea what you were expecting?

Are there examples of synth bass sounds you feel aren't available? What kinds of sounds were you hoping for? I'm truly trying to understand how these sounds are "stuck in the nineties."

The variety on offer is truly stunning to me. Almost too much, almost over-stimulating. The subtle number of different variations on how you can shape a synth bass... I could explore all of these textures for hours when I really should get back to work composing and arranging.

Please explain further. I'm trying to understand what's missing for you.

-c

[TEMAS]

Originally Posted by Silver Sonya

???



Can you give us an idea what you were expecting?

Well I don't usually do requests, but I've got time to expand a little bit.

With Spectrasonics, we've come to expect exciting and innovative presets. I don't think these presets are exciting or innovative.

When I flick through the Omnisphere presets, I hold down on one key and often I am presented with an imaginative multilayered soundscape. Many of them are not my cup of tea (which is the case with most instruments' presets), but every so often they'll be one that is completely unique; a technique or detail that I would never have thought of creating myself.

This is also the case when I flick through the Sylus RMX presets - many don't appeal to me at all, but some are totally unique and I really like having them in my library in case I need them.

When I flick through the Trillian synth presets I don't hear any intricacy or subtlety or experimentation; when I hold one key down nothing ever pops up and surprises me. ALL the presets are designed to be played on a keyboard like one would play a piano; each key plays its own note and thats all. And the results that are achievable using Trillian's synth basslines are restricted by this design.

I've been programming my own bass patches using a Nord Modular (and a G2) for about 12 years, so I know a few things about synths. With the Nords, you get a huge choice of modulation sources at your disposal to create sounds and performances. By sampling these sounds and performances, I've built tons of EXS24 patches and they are never designed to be played in a regular 12 semi-tone scale; they're just a bunch of crazy samples and mini performances, which can then be triggered with a MIDI or USB controller. I guess with Trillian I was hoping for at least a bit more of this technique; sounds that evolve or alternate according to how they are triggered, not just each note the same as the last but one semitone higher.

To summarize - I was not hoping for Trillian to offer the vast editing scope of a Nord G2; quite the opposite in fact. I was hoping that the samples that make up the presets had captured more exploration of and performances using the source instruments, so that I didn't have to do all the editing to make the presets unique.

But like I said at the top of this post, these are the kind of techniques that I have come to expect from Spectrasonics and because it didn't deliver those kind of expectations, I am disappointed.

[elambo]

Originally Posted by barbital

It is indeed the best virtual bass available at this time.

Certainly a subjective opinion.

The acoustic may be infinitely adjustable, and I owe it to myself to play around a bit more, but I haven't found it to be more useful than Trilogy's. This is a unanimous opinion amongst several people at my company who have listened. It doesn't matter to me if it's 1 sample or a million and 1 - it's the basic recorded tone I'm referring to. Trilogy, although certainly less expressive, cuts through the track extremely well and it just sounds right. Even comparing both basses to the jazz and big band records I have, Trilogy sounds more like them out-of-the-box.

I'll keep tinkering.

[bof]

Originally Posted by TEMAS

To summarize - I was not hoping for Trillian to offer the vast editing scope of a Nord G2; quite the opposite in fact. I was hoping that the samples that make up the presets had captured more exploration of and performances using the source instruments, so that I didn't have to do all the editing to make the presets unique.

But like I said at the top of this post, these are the kind of techniques that I have come to expect from Spectrasonics and because it didn't deliver those kind of expectations, I am disappointed.

Sounds like you would be rewarded by opening Trillian's patches in Omnisphere and messing with them using the arpegiator etc.

I don't use synth basses often but, when I do, I find it difficult to find good, basic sounds that are designed to be played from a keyboard. It seems that Trillian has many of these, so I'm happy.

Trillian's electric basses won't be replacing my Scarbee (NI) basses at all. They aren't as detailed as the Scarbee basses and I still don't like that 'hyped' sound that Spectrasonics deliver. The double bass seems to be the star of the show for me, but it's still hyped so I'm sure I won't be throwing away my VSL double bass.

[spectrum]

Originally Posted by TEMAS

Am I the only one that thinks these Synth patches are really uninspiring?

Yes, I think so. :-)

This is the first and only reaction I've received like this regarding the Synth patches. Every other reaction has been extremely enthusiastic and positive.

Originally Posted by TEMAS

When I flick through the Omnisphere presets, I hold down on one key and often I am presented with an imaginative multilayered soundscape.

Ah, so are most interested in complex event sounds?

Have you checked out what you can do with the Custom Controls page and the Arp & Rhythm patches? There's a ton of intricate and subtle changes that can be made to the sounds in real-time very easily and lots of interesting variations are possible with each sound.

When I flick through the Trillian synth presets I don't hear any intricacy or subtlety or experimentation; when I hold one key down nothing ever pops up and surprises me. ALL the presets are designed to be played on a keyboard like one would play a piano; each key plays its own note and thats all. And the results that are achievable using Trillian's synth basslines are restricted by this design.

That's completely inaccurate. What you are saying does not make sense.

Are you listening to the new set of 500 synth patches?

Have you checked out the ARP & Rhythm category of patches and used the custom controls page?

They don't fit into your description at all. There are hundreds of highly imaginitive sounds that play complex patterns and all kinds of cool and unique stuff....not just single note stuff.

I've been programming my own bass patches using a Nord Modular (and a G2) for about 12 years, so I know a few things about synths. With the Nords, you get a huge choice of modulation sources at your disposal to create sounds and performances.

The envelopes in Trilian are the most powerful, state of the art envelopes in any kind of bass instrument. Have you checked out the Envelope Zoom and Modulation Matrix?

By sampling these sounds and performances, I've built tons of EXS24 patches and they are never designed to be played in a regular 12 semi-tone scale; they're just a bunch of crazy samples and mini performances, which can then be triggered with a MIDI or USB controller. I guess with Trillian I was hoping for at least a bit more of this technique; sounds that evolve or alternate according to how they are triggered, not just each note the same as the last but one semitone higher.

Well yes, Trilian sounds all use a regular 12 semi-tone scale. :-)

To summarize - I was not hoping for Trillian to offer the vast editing scope of a Nord G2; quite the opposite in fact. I was hoping that the samples that make up the presets had captured more exploration of and performances using the source instruments, so that I didn't have to do all the editing to make the presets unique.

Sounds like your interests are quite different than the majority of our users, but you should definitely check out the Custom Controls with the ARP & Rhythm patches...very much what you are describing and tons of fun to explore new sounds.:-)

[Dr.Wu]

Originally Posted by elambo

Certainly a subjective opinion.

The acoustic may be infinitely adjustable, and I owe it to myself to play around a bit more, but I haven't found it to be more useful than Trilogy's. This is a unanimous opinion amongst several people at my company who have listened. It doesn't matter to me if it's 1 sample or a million and 1 - it's the basic recorded tone I'm referring to. Trilogy, although certainly less expressive, cuts through the track extremely well and it just sounds right. Even comparing both basses to the jazz and big band records I have, Trilogy sounds more like them out-of-the-box.

I'll keep tinkering.

Have you tried to combine both acoustics?
I like to mix the pickupsignal of the Trilogy bass with the mic signal of the new acoustics with great results.
Kinda like bassed of both worlds!

[Dr.Wu]

Originally Posted by TEMAS

I've been programming my own bass patches using a Nord Modular (and a G2) for about 12 years, so I know a few things about synths. With the Nords, you get a huge choice of modulation sources at your disposal to create sounds and performances. By sampling these sounds and performances, I've built tons of EXS24 patches and they are never designed to be played in a regular 12 semi-tone scale; they're just a bunch of crazy samples and mini performances, which can then be triggered with a MIDI or USB controller. I guess with Trillian I was hoping for at least a bit more of this technique; sounds that evolve or alternate according to how they are triggered, not just each note the same as the last but one semitone higher.

I like standard bass sounds that one can play traditionally but i also dont mind using a cool onefinger arpeggio if i find it inspiring.
You should try to combine 8 arpeggiatorpatches in a Multi and assign a certain range of the keyboard for each one.
Than you can combine them freely in a live performance.
There is a ton of inspiring onefingertype arpeggio patches in Trilian.
I made a song that uses only these type of patches.
Monopolis on Vimeo

[spectrum]

Originally Posted by elambo

Certainly a subjective opinion.

The acoustic may be infinitely adjustable, and I owe it to myself to play around a bit more,

Yes, you should do that before posting such definitive opinions I think! :-)

but I haven't found it to be more useful than Trilogy's. This is a unanimous opinion amongst several people at my company who have listened.

What I can tell you is that we have done hundreds of listening comparisons with some of the best producers/composers in the business, and the universal opinion was just the opposite of what you are saying. Trilian's acoustic always won hands down.

But it makes a HUGE difference if you know what version of the new Acoustic to use for which kind of musical application. If you just load the first patch and A/B it with Trilogy, then of course there's going to be a big difference - because Trilogy's acoustic is already EQ'ed and Compressed in the original samples. Trilian's new Acoustic was recorded with no EQ or Compression, so the sound is far more versatile. It responds extremely well to EQ and Compression and can easily "cut through" like Trilogy's does....you just have to engage the EQ and Compression on the panel. :-)

Trilian's new Acoustic has three different types of sustain approaches and 4 different audio channels (2 different DIs and 2 different Mics - Neumann U-147 and AKG C-12 - arranged in two sets of patches/multis)

Which Mic/DI combinations did you guys listen to?

In what musical context?

How was the bass setup?

Was the EQ and Compression engaged when you did these listening tests?

It doesn't matter to me if it's 1 sample or a million and 1 - it's the basic recorded tone I'm referring to.

Of course, that's not my point either.

But it's very important to understand that the recording philosophy of Trilian's acoustic is to be far more versatile than Trilogy's, because the eq and compression are VARIABLE, not fixed like in Trilogy.

Which Mics/DI/sustain combinations you use and what the tone controls are makes a MASSIVE difference.

Trilogy, although certainly less expressive, cuts through the track extremely well and it just sounds right.

Sure, for more aggressive tracks. But Trilogy's acoustic is nowhere near as good as Trilian's for ballads and mid tempo tunes.

Even comparing both basses to the jazz and big band records I have, Trilogy sounds more like them out-of-the-box.

Any EQ'ed sound will sound more "finished" than one that's not EQ'ed.

You can totally get Trilian's acoustic to cut through as much and more than Trilogy's by simply using the EQ and Compression features and the right selection of sounds.

I'll keep tinkering.

Good....you'll find that it's very rewarding to do so. Trilian's acoustic is very, very versatile and much more deep in possibilities than Trilogy's was. :-)

[spectrum]

Originally Posted by bof

I still don't like that 'hyped' sound that Spectrasonics deliver. The double bass seems to be the star of the show for me, but it's still hyped so I'm sure I won't be throwing away my VSL double bass.

First we're not hyped enough, now were too hyped. :-)

So I really not sure what you mean. All the new Basses for Trilian were recorded FLAT and direct from the instrument with NO EQ or hyping. So any tone adjustments can be made by the user.

I'm wondering something when I read these kinds of comments: Are you guys just loading the patches and not using the custom Tone controls on the front panel when you are working with the instrument in your tracks? Are you really checking out ALL the variations for an instrument?

You can very easily make Trilian sound any way that you would like - flat, hyped, bassy, thin, midrangey, smooth, fat, aggressive...whatever! But you have to adjust the controls of the sound to fit your tracks, just like you do with a real bass BTW. A real player always is adjusting his tone and technique to fit the music - plus the engineer is adjusting which mics/DI combinations to use with various EQ and Compression techniques. In addition to a massive variety of different instruments, Trilian has all of these kinds of adjustments available to make the instrument work in so many different styles.

[spectrum]

Originally Posted by Dr.Wu

Have you tried to combine both acoustics?
I like to mix the pickupsignal of the Trilogy bass with the mic signal of the new acoustics with great results.
Kinda like bassed of both worlds!

I wouldn't recommend that actually. You'll have phase problems and it will sound far less "Acoustic" which is what the poster is looking for.

However, you can combine all 4 mics/DI signals from the Trilian Acoustic if you really want to experiment with mixing options. Note that this uses a huge amount of memory though, but that approach is completely phase-locked.

[Dr.Wu]

The way i mix the soundsources i havent experienced any phase problems sofar.
I use a lowpassfilter on the Trilogy pickup and a bit of hipass on the Trilian.
Probably not the most accurate or authentic sound but a cool hybrid.
I also get interesting results from combining the Bass Legends soundsources with the Trilogy ones using a D-50 approach where one soundsource provides the transient and the other one the sustain.

[Silver Sonya]

Originally Posted by spectrum

I'm wondering something when I read these kinds of comments: Are you guys just loading the patches and not using the custom Tone controls on the front panel when you are working with the instrument in your tracks? Are you really checking out ALL the variations for an instrument?

The simple answer is no. People want instant gratification. They like seeing all the buttons and knobs --- it's fundamentally reassuring --- but they don't want to actually turn them or push them. Because therein would be subjectivity and trusting their own judgement.

They want to hit one button and have the thing generate a bassline as brilliant as Beatles' "Rain" or The Police's "Walking On The Moon."

Give it to us, Eric. Now.

Human nature & western culture here at the close of the first decade of the 21st century.

- c