[...] i can't see it's simple, easy or don't demand that much of the software to use samples.
As i understand it, then it's not just importing a sample, and then everything works automatictly to use it for resynthesis.
[...] why do it need to be a part of Synclavier V? AM i still missing something? If so - what?
Being able to load a sample into Synclavier V would give us 1 of 2 possibilities:
1) Use Synclavier V as a regular sample player, just like the original Synclavier allowed once upgraded to such.
Being able to do Analysis on that loaded sample would give us the 2nd possibility:
2) To take (24 harmonic) spectrum snapshots at user-defined points in the sample, "automating" the spectrum designing of each of the time slices based on each user-defined point in the analysis process. That alone would use Synclavier's already existing ability to morph those spectrum based time slices through the timeline of the note.
That's all I would like to get out of a feature improvement of Synclavier V which is (AFAIK) what a fully equipped 1984 Synclavier would allow.
I'm basically saying the same as what's described in the linked documents:
«
These sound 'pictures' are then spliced together into a series of timbre frames that crossfade from one to the next. (A timbre frame could be thought of as an individual partial timbre with it's own unique set of harmonics, volume, possibly it's own pitch, and several other parameters which you will see as you use the software). The enormous power for RESYNTHESIS then places these automatically computed timbre frames one after another, giving you many, many sets of harmonics in succession as you play the note. In some cases it would be as though you had as many as 64 different partial timbres flying by as you play each note.»
If I'm not mistaken, Synclavier V allows 50 frames per Partial, so if needed and as an extreme, we could have a 50x12=600 frame based 5min (speaking of a sequence of "pictures", then I will call it a) "movie" of a sound. That would be your resynthesized version of the original sample.
If the Analysis process isn't improved, the user would have to manually place/set all those 50 analysis points.
...12 times, 1 per partial for its own 1/12th section of the sample, if you wanted to achieve the maximum accuracy of 600 slices/frames instead of 50.
If improved, this process could also easily be helped with data point rule-based auto-distribution tools, somewhat similar to the kind of improvement Arturia did with the harmonic design tools in the Slice screen.
If I understand it correctly, Synclavier's Resynthesis process only uses the Additive part of its synthesis engine, not the FM part, so the modulator now being also additive in V would be irrelevant for the above... unless you then wanted to manually mess with the additive-based resynthesized sound, through FM
If you want to speak of Wavetables, then consider each slice as an additive-based wave and a sequence of those slices to be your additive-based wave "table" but more powerful because the (time) "distance" between each of the waves in this "wave-table" is naturally variable and not artificially controlled by a (often linear) modulator, as usually is in wavetable synthesis.
The Synclavier concept is truly so powerful (and it's all there already in Synclavier V except sample loading+playing) that it really needs a lot of computer-aided guidance (and a well designed UI) to take advantage of its original/current possibilities.
In the current version, the only "computer-aided" layer we have is the Harmonic drawing tools and waveshape spectrum presets together with the Harmonic Select options.
There's a lot more layers that could be added to the existing time-sliced Additive+FM synthesis engine capabilities of Synclavier.
The Sample (loading)+Analysis is just 1 of many of those "computer-aided" layers that can be added to tackle what we have in Synclavier V.
NED was in the right path of technical feature evolution, adding to the time-based Additive+FM the digital sampling capabilities and then merging those 2 into Resynthesis by using the already existing computational power in the instrument.
