![]() The next is very much in the ‘real emulation’ camp. Imaginary to Real So far, you’ve witnessed soundtrack and fantastical performances in my random journey. You think a performance is sounding pretty darn good already, until you switch a Scene and then, boom, it sounds even better. It’s easy to get variations like these within a performance (and easy to set up yourself), but hearing them in action so quickly and simply like this, well, it takes you by surprise. Want something else to go with them? Dial up Scene 2 and you have a pipe organ and strings to go with them. ![]() Random dial again, and next, it’s Choir/Strings/PipeOr and here we have two great choir sounds playing on their own at Scene 1 – some of the best choir samples you could ask for, in fact. FM Bow RingMod Pad, on another hand, is about simply providing great atmosphere using Montage’s FM sounds.Īgain, it’s made of four parts and the Scenes have little effect this time, as the performance is always playing all four parts simultaneously, for a huge throbbing, modulated DX-type soundscape. These first random performances have offered a complete soundtrack experience. Go to Scene 2 within this performance, though, and parts 3 and 4 kick in, so you end up with a chilled sequence and beats, again in time with what you play. I’m on Scene number 1 of 8 and I can see it has four parts again: two pads across the first two, but nothing on parts 3 and 4 as yet. These are shown in full flow with the next random performance I dial up, which is called Chilomatik. ![]() Before you think, ‘hey, that’s a bit presumptuous, adding beats in where I don’t want them’, remember that a) there are tons of performances, many of which don’t do this and b) you have those eight Scenes to utilise per performance, so you can edit the beats out. ![]() Then you realise that hitting a key on the upper side brings in a percussive sequence that plays in time. I’ll dial each in and explain how they sound, as this will give a flavour of the keyboard. So what I will do instead, rather than trying to describe the Performance Section overall – which is pretty impossible given how many there are – is detail a few at random. You might be drifting away from me here, as I realise I’m trying to describe the most important part of Montage in perhaps overly simplistic terms. Everything has that detail and if it doesn’t, there’s certainly room to add realism… or plenty of unrealism. Performances will be like nothing you have heard before, especially with that Motion Sequencing – this is a sound designer’s dream – but they will also be as real as you can imagine.Īn electric piano sound, as an example, might be a performance made of a couple of AWM piano samples to give it huge body, and then maybe another part of the performance might be a sample of the attack, or the physical sound of the cabinet. What I mean – and I realise I am, perhaps a little unfairly, trying to categorise a huge part of Montage – is that these performances make Montage excel at both the real and imaginary sounds and soundscapes. So in Performance Mode, you’ll be treated to mostly either great washes of atmosphere (with lots of movement or rhythmic parts underpinning them or drifting in and out), or simply stunning individual sounds, which are made up of several constituent parts to add realism.
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