There are the controls that you might expect to see in any soft instrument pitch, gain, pan etc. Most of the presets come with plenty of options for making the sounds your own. From this point there are an incredible number of options that can be adjusted on each instrument. More than one instrument can be open at once. Each instrument, synth, or preset that you open is placed on the virtual desktop. The Falcon interface works in a similar way to Kontakt. But a couple of short YouTube tutorials later I had my virtual sleeves rolled up and was cheerfully up to my armpits under the hood of Falcon. When I first opened Falcon it looked like I was going to struggle to get to grips with it. Over the past year or so I’ve learned a lot about making music on computers, but not so much that I’m not daunted by some software. Gareth Patch has spent years teaching music theory, performance, live and studio sound reinforcement at a very high level for years. For example Ian Waugh has been writing about computer music for a very long time. The other reviewers here at are extremely experienced. I have spent around 25 years slinging a bass guitar about the stage, playing in loud, loose rawkus bands. I make no secret of the fact that when I became the editor of I was very much at the start of my computer music journey. To start painting this picture I need to explain the canvas. I’m going to tell you how this software feels to use. Instead of detailing the mechanics of Falcon by UVI I’m going to focus on a different aspect. Every sound that has come out of Falcon in the time I’ve been getting to know it has had me grinning ear to ear. Take it as read that none of the sounds in Falcon want for anything. So for this review I’m going to do things a little differently. A sound that might be considered unlistenable to one user could be the foundation of an entire set for another. It’s especially challenging trying to review sounds from an objective perspective. For example, we know that our readers want to know about how software works from a mechanical / workflow perspective.Įxpressing how software actually sounds is one of the most challenging aspects of any review. When we review software packages at Making Music there are several key aspects that we like to cover.
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