Get with the programmers

UVI’s CTO Oliver Tristan and Chief of R&D Rémy Müller take to the skies to talk Falcon 2

“With Falcon, you have everything in one space”

Give us a quick potted history of UVI. OT “UVI was founded 20 years ago, focused on sound libraries for hardware samplers. We expanded into software with the UVI Engine and PlugSound. PlugSound was one of the first sample-based virtual instruments. Around then, we worked with Eric Persing on Spectrasonics‘ first plugin, then MOTU on MachFive, one of the first software samplers.”

Falcon is the weapon of choice for many producers. What’s the secret?

OT “Most products on the market are either sample-based or pure synthesis instruments. With our sampling history, we wanted to keep the sampler metaphor but expand the sonic potential.”

RM “Often, to get the best result, you need multiple tools/environments, but dealing with this added complexity can cost time and inspiration. With Falcon, you have everything in one space.”

What are your favourite new features of Falcon 2 and why? RM “Additive Synthesis comes to mind. We also had a blast working on the Euclidean stuff, and we love the new Drum Sequencer – it allows quick sketching and can automatically label your tracks with sample names. In 1.4, we had great fun with the Polyphonic Sequencer. We’re not sure how many people notice all the new things added in 1.x releases!”

The new Additive oscillator is impressive. How did you approach making such a technical synthesis technique simple for the user?

OT “Additive synthesis has a huge parameter space, and editing each partial is cumbersome – like trying to edit a waveform sampleby-sample. We wanted to find a set of controls that feel familiar, while allowing users to leverage the power of additive synthesis, so we started with the subtractive synthesis metaphor. We also borrowed the inharmonicity control from physical modelling; great for animating sawtooths.”

If we have one criticism of Falcon 2, it’s that the GUI can become confusing as patches grow more complex…

OT “Clearly one of the greatest design challenges in an open system like this is ease of use. The many module types and lack of restrictions on module count means that you can create really complicated systems. The complexity can be a challenge, but it’s also one of its greatest strengths.”

RM “As far as mitigating that complexity, for presets, the Info panel is the place to start; but for people creating their own sounds or trying to edit more deeply, I’d definitely suggest getting acquainted with the Tree view.”

Can you tell us anything about future additions to Falcon? Sample resynthesis in the Additive oscillator, perhaps?

OT “Resynthesis is being worked on. The analysis has to be accurate >99.9% of the time, as a single artefact can betray a sound. Intuitive controls for editing partials are also important – you need both high-level and detailed views for creative use. We’re considering it.”

RM “The hybridisation of sampling, synthesis and physical modelling is another way we’re expanding the sound design toolbox.”