I go from general to specific.

First, I hear it in my mind's ear, then mentally "deconstruct" it to
determine what type of synthesis/opcode could produce such a sound. This
often involves getting a general idea for control signals, filters, etc.,
as well the basic opcode(s). (This is an acquired skill. Twenty-eight years
as a recording engineer helps a lot.) Only when I have a clear idea of what
sound I
want and generally what to do to get it, do I start coding.

When coding I start with the basic sound generator(s), adding modifiers and
control signals, so that the instrument and sound tends to grow from the
inside out, still trying to keep focused on my original concept.

Although I've made it sound so logical and holistic, there is still no small
amount of trial and error involved, and sometimes surprises.

But, adopting this approach, and using Csound as the machinery, I can
maintain a certain self-discipline and avoid wasting hours in aimless knob
twirling - a bad habit I developed back in modular analog days.

-David.


Stan wrote:

>Just curious as to what creative procedure is best  used to create an
>instrument? Would one (a)- create the timbre of the instrument first,



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