![]() ![]() Remember, these are just displays, you can keep playing and listening as you navigate around. When you are in Synthesis mode you get to see how the sound is put together. There is also a patches window that lets you browse by category and has a simple view of the current patch’s modular layout. These controllers are specific to the patch, and some patches use only one of the 4 controllers – the others being graphically obviously disabled – a great thing that stops you adjusting a control that’s not doing anything (we’ve all been there) and wondering why we don’t hear it.ģ/4 Down you get a series of panels you move between to adjust oscillators and the apreggiator etc. For example, a controller called “Character” on top had x + = Resonance and Y= waveform written underneath. You get 4 x/y controllers (nice large ones) labeled with their basic function on top, and the specific function of the x and y positions in a (almost too) small type underneath. When you first open Zebra, you are in “Perform” mode. But, it won’t be as hard as many of the synths I’ve tried in the past.Īnd did I mention the 47 videos plus a large support base and user community? Make the effort and this might be the only synth of it’s kind you need (true at least for the 10% that really put the work in). Preset wastrels beware, you may have to learn a couple of things to edit the patches. Having said that, it’s still a powerful and deep piece of software. The knobs are knobs and the displays are easy to interpret. Zebra gets the balance between modular and audio components right. And unlike some modular approaches, it’s not a scantily clad series of line diagrams either. A bit like Propellerheads’ Reason in that you can move things around, and there is a reason to how thing work together, but it eclipses Reason in that the modules are all similar enough that you don’t get confused but an unnecessary clamor of multicolored boxes with the controls all in different places. Part of Zebra 2’s charm is it’s quietly efficient visual interface. You can watch all 47 easy to follow YouTube videos that take you through the functions and interactions of every module and effect (found HERE) You can approach it in two ways…wait for it…black or white…(sorry): Preset whore (that’s me) your way through a bajillion interesting sounds…then use them as a basis for tweaking your way to your own patch. I noticed right away that sounds moved about my headphones differently – because nothing is set in stone with Zebra. The modules are easy to connect and move and even understand.Įverything is made from scratch, so you are going to get more flexibility than a ‘sampler’ or even ‘sample based’ synthesis approach. The UI is clean and friendly, and there are more skins to amp up the ‘friendly’. And a few other big time films too! Unlike the wall of wires, and so many synth programs, Zebra is easy to run, and even easy to mess about with under the hood. In fact, It’s probably replaced it’s hardware forbear as you can hear Zebra on The Dark Knight, and a few of Mr.Zimmer’s (we are not worthy) recent scores. Every one’s seen that whole wall of Hanz Zimmer’s studio covered in one modular…this is the software equivalent. Zebra 2 is a modular synthesis environment. To get us all started, I run over some of the features, and share some of my discoveries. I played more than I programmed, and I’m sure I’ll learn new stuff for a long time as I get deeper, but since I want you to try the darned thing for yourself, go to their website and get the demos – then play the heck out of it and have some fun. But if you are recording, and have the time, you’ve just stepped into a word where you can get a vast amount of sounds from one interface. Straight up front I knew I had something I could play live. ![]() And it comes with 3 really tricked out extras that make this a great package. Zebra neatly covers the evolving pads and (not so) simple leads department. ![]() ![]() Not surprisingly I use Spectrasonics Omnisphere (under Live8) for most of this, but along comes Zebra (to make me see things differently. I play the “Atmosperherics” position in my band – lots of evolving pads, simple leads and massive impacts. I’m going to give the floor to him to review this extremely intuitive software synth package from u-he. He live on the far side of the planet in New Zealand. Please welcome DC Patterson to the Everything Recording family.ĭC is a location sound & music recordist, composer for film and television and produces albums for eclectic artists. Everything Recording has a new addition to the team to help me with the reviews. ![]()
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