Quote:
Originally Posted by Timo
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Not only do you have flexibility on the waveform, it is dead easy to take that waveform, modify it in some way (for example using the mouse to redraw the harmonics), then morph the waveform.
This is not the best example video, but if you watch about 10-15 seconds in, where he transitions the waveform between stage 1 and 16:
http://www.youtube.com/watch?v=FqjCrvcV8q0 it almost shows what I mean when I say its easy to start with one wave in stage 1, copy it to stage 16, tweakt it to a different wave, then morph so that stage 2-15 are slow transitions between the two states, then you can modulate between those stages pretty much however and using whatever you want. He is not using complex additive waveforms here so its not a good showcase, but sort of shows the morphing possibility (I couldn't find the exact video I wanted).
Here's a guy making a dirty bass sound, which shows editing the waveform a slightly different way, so if you combine the two vids you can kinda get the idea.
http://www.youtube.com/watch?v=QlMD7...e=results_main
Zebra is an absolute monster of a synth. There's a reason why Hans Zimmer made this his instrument of choice when he did the soundtrack to (Batman) Dark Knight Rises. You can even actually buy all the original sounds used in the movie for Zebra.
UPDATE: For some reason when I first clicked your link the vid didn't load so I proceeded with my post without seeing it, but it is actually a better vid for the features I was describing than the ones I posted... Anyway I will leave what I wrote for thread integrity even though it seems unnecessary now. As a side note, I find the MSEG feature just as valuable, although when Zebra first came out, there were not too many other synths available that had this feature, whereas these days it seems more synth designers are adding them... just more crazy modulation possibilities that you pretty much never see on hardware.