• January 29, 2019 at 10:02 am #23574
    gromegromJuri Djatsenko
    Participant

    Hey everyone. I am struggling to reproduce the Pluck sound of a loop that is used in this remix https://soundcloud.com/furiremixes/7-rings-furi-drums-extended-free it’s the Pluck that goes through the whole remix. It has this quality of a metallic clap, but it is still very tonal. I like how bright it wounds but still it isn’t agressive or annoying. Tried to recreate it in Sylenth1. I can hear a low mid-range note, a mid-range and high. I also used the noise, saw and square waves. Ableton detects C and G notes in it. But anything I come up with does sound metallic, but too harsh or detuned. Please help.
    Thanks.

    January 31, 2019 at 7:17 am #23629
    joehanleyJoe Hanley
    Keymaster

    I’m hearing two layers. A saw layer, and a percussive noise layer. I think the chord is Db Major (Db F Ab). Try starting with this in Sylenth1:

    Saw Layer

    1. Oscillator A1: Saw wave. 8 voices. Retrig off. 0 Stereo. And you’re right, the Detune amount here has to be set just right. You don’t want it too pitchy, but it’s gotta be smeared. I found a sweet spot right around 3.4

    2. Filter A: Low Pass. Cutoff a little above Noon. Resonance around 11:00. Slope at 12 dB. Full Drive.

    3. Amp Envelope. 0 Sustain. Quick Decay and Release.

    4. Mix A set to about halfway

    Noise Layer

    1. Oscillator B1: Noise

    2. Filter B: Low Pass. Cutoff a hair above Noon. A lot of Resonance. 24 dB slope. Combine the following amp envelope with this, and it shapes the noise into kind of clappy wood block.

    3. Amp Envelope. Sustain a little above 0, very short Decay, and Release a little higher than the Decay. This way, the Decay/Sustain gives us an attack transient to create the percussive snap, while the Release allows for a little tail. Play short notes

    4. Mix B all the way up.

    Effects

    1. Reverb. Medium Size, about 40% wet.

    • This reply was modified 2 months, 2 weeks ago by Joe Hanley.
    January 31, 2019 at 10:51 am #23633
    gromegromJuri Djatsenko
    Participant

    Hi, Joe, Thank you so much for your help!
    It starts to sound much more similar after your guidance. I really neglected decay part of the envelope that actually was absolutely necessary for resonating character of the sound. I put valhalla plate steel on it to give it more bright metallic sound ,I am still struggling to give it more bright nasal snap character like the original. I guess I will need to play with it in my next remixes and see how I can make it work in the entire mix. It will probably depend on the chords character too.

    Any advice on the bass and lead sounds from the same loop?
    Do you suggest making a single bass patch with the sub or separate bass and sub patches? What waves do you suggest using as the sine wave sounds just too mellow and does not give this clean tonal impact as in that loop and the rest are already too grungy and dirty. When I am trying to make a single patch the sub feels arriving too late to keep up with fast and snappy go ahead movement and when I am making 2 different patches phasing seems to thin the whole bass out. Also, any advice on the amp envelope so that the whole bass patch sounds agile and snappy.

    Thank you very much for your help!
    Yuri

    January 31, 2019 at 10:59 am #23635
    joehanleyJoe Hanley
    Keymaster

    Any advice on the bass

    I’d say the sub layer could be a sine wave, but make sure it’s not processed by any filter, fx, etc. Just a clean layer for bottom end.

    For the other layer, I’d start with a saw, low passed, and heavy Filter drive. If it still needs some grit, then probably some kind of distortion/waveshaping layered in, but not too much.

    I’d say the Amp env it probably a simple short Decay/Release, 0 Sustain. And if you have the option, try making the Decay/Release curves Linear. This allows for very short Decays that still feel fat. Also, env attack miiiiight be up a hair. It sort of feels like the bass has a tiny fade in, but I could be wrong there.

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