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Yes, the only thing that could make it easier should come from NS2, IMO. There are three oscillators in Obsidian. You can use these to act as three velocity layers. But to do that you need to import one folder for each oscillator.
However, importing is so quick and easy that it doesn’t seem worth the development time to me. Synth Jacker tees it up perfectly, and importing three layers takes almost no time at all.
Sorry for provided wrong information about Synthjacker zipping file.. i messed it with ReSlice which can zip files .. I know that it may sound unbelivevable, byt sometimes i'm wrong too
Somebody asked about advantage of importing ZIP files into NS2. Ok main advantage is - you can take Obsidian patches, Slate banks, projects, samples - all stuff together, then zip them, then use "Open in Nanostudio" - NS automatically unzips file and puts all files from ZIP where they belong - obsidian patches into Obsidian patch brower, Slate banks into Slate banks directory, samples (including all subfolders) into Audio library ...
So main advantage is when you want to import more files, especially various types, or multiple samples with subdirectories.
Since I'm preparing samples for NS2 on the desktop machine anyway, my favorite sample management route is by mounting NS2's WebDAV share as a folder and use it like it was a local drive. No zipping, no mailing, no AudioShare, no Files.app. Perfect.
I'm pretty new to the whole sampling synths into Obsidian process.
I bought synthjacker and started playing with it.
What interval would you recommend for a good quality/disk space usage ratio? I tried 3 semitones at first but the disk usage for such a sampled instrument would be several hundreds megabytes.
yeah, if desktop is a part of game, WebDAV is perfect
That are really big samples .. Hold in mind that Obsidian loads all samples into memory.. so probably patches sized few hundreds of megabytes are not good idea.
Often you don't need to have many seconds long sample, s - just remember that old HW samplers had just very small memory, we used various tricks to use short samples but still achieve long played notes
You can use short sample and define proper "sustain loop" in sample for long notes. It needs a bit more work at patch design stage in Obsidian, but it pays itself by significantly smaller samples / patches.
Defining sample sustain loop in NS2 Obsidian audio editor is pretty straightforward and intuitive - just select rough sustain loop, then zoom to total detail. Now by touching left / right navigation handles it instantly jumps to beginning or to end of this selection (so you don't need unzoom / rezoom al the time like in most of audio editors), then by moving that handle you make precise adjustments of loop area (while sound is still playing - you hear immediate response how looped area sounds, if you hit "play" button in right top part of screen)
After you're done, in actions just choose "set sustain loop" and then save sample - sustain loop is saved together with sample.
Usually i record just one or two samples per octave. In most cases i record F note (not C). I always try to set recorderd material smallest possible but still loop-able. Of course, this approach is not possible always, but often it works.
In my workflow, samples are just initial component, after that i do lot of sound design in Obsidian. Often i sample just very short samples - like from 4 to 100 cycles to preserve some "movement" in sound, then i loop it and use such samples as replacement for standard Obsidian oscillators.
Two notes from my own sampling experience:
First, you never know what intervals to sample without trying and listening.
Some synths only require one sample over the full range, others (like piano) sound unnatural when the samples are more than 3..4 semitones apart.
When I sample, I usually sample each key chromatically, drop them into Kontakt and start removing and re-mapping neighboring samples until the note-to-note transitions from one key zone to the next start to sound annoying. When the instrument plays smoothly, I'll save the nki +wav files and copy the wavs to NS2.
Disk space is not really a problem. You can save your samples as .OGG or as .M4A/MP4 compressed audio and Obsidian will still be able to read them. They will still require the full amount of RAM when used, but at least they're stored very economically.
Both OGG and M4A are good choices for samples, much better quality than mp3.
The best OGG bitrate also depends on the material. Very percussive synthetic stuff must be encoded at 256..320kbps while most natural instruments already sound indistinguishable at 128kbps OGG.
@dendy @rs2000 Thank you very much for your insightful explanations!
You're welcome!
@dendy Why are sustain loop points in m4a or ogg files neither stored in the Obsidian patch nor in the audio file metadata? There must be a way