Forum Replies Created

  • joehanleyJoe Hanley
    Keymaster

    If you post your attempt here, I’ll take a listen, and suggest some adjustments

    In reply to: Recreate patch in primer/massive?

    November 8, 2019 at 9:40 am #30888
    joehanleyJoe Hanley
    Keymaster

    I would consider it a bass, though it has a plucky envelope shape. Try this:

    Primer

    Oscillator 1: Saw

    Unison: 4 voices, a little wide, mess with the detune until you get the right amount of “smear”, turn off osc Start to prevent the overly-aggressive attack transient

    Oscillator 2: Sine. Dial-in the Osc Mix so that Osc 2 is a little louder than Osc 1. You want that round Sine body to give it a bottom-heavy and solid sound.

    Filter: Low Pass, bring the Cutoff down a bit to take off some highs.

    Amp Envelope: Nudge the Attack up to get rid of the Sine pop. Create an attack transient by bringing the Sustain partway down, and setting a short Decay. Then nudge the Release up to create a very short tail.

    Massive
    Massive can do everything above (albeit their Unison implementation is a bit different so you’ll have to adjust for that). However, one key change that Massive will let you do, is not applying Unison to the Sine wave. This will make the Sine more solid and create a sturdy low end.

    • This reply was modified 1 week, 3 days ago by Joe Hanley.

    In reply to: Patch Request – SZA – Together (feat. Tame Impala)

    November 8, 2019 at 9:28 am #30885
    joehanleyJoe Hanley
    Keymaster

    I hear a wide pad with a flanger. Try:

    – saw wave
    – Unison, 4 voices, wide
    – Little bit of Low Pass filtering to take off a top chunk
    – Heavy-handed flanger
    – If you have an analog synth or analog synth emulator that will help get the right character as well, but any synth with the above features will get you there.

    joehanleyJoe Hanley
    Keymaster

    These dense layered patches are always tricky. I hear two layers:

    Layer 1: Shimmery pad

    Oscillator: Medium pulse wave

    LFO: Slow triangle modulating oscillator pulse width

    Envelope: Slow attack to swell in

    Filter: Low pass, take a bit off the top, add some resonance

    Chorus: wide and warm

    Reverb: Big and wet

    Layer 2: Pitch-modulated video game

    Oscillator: Square wave

    LFO: Modulate the oscillator’s pitch in an up-down motion. How you do this depends on the synth. In Serum, I use a triangle waveform to modulate the oscillator’s Semi destination. This forces the modulation to jump up one semi-tone at a time, instead of moving the pitch smoothly.

    Delay: 50/50 wet, long feedback, 1/4 or 1/8 note rate. This will create a nice blanket of overlapping sound.

    Reverb: Big and wet

    In reply to: FKJ Synth

    October 31, 2019 at 9:45 am #30787
    joehanleyJoe Hanley
    Keymaster

    Here is my serum patch I did not manage to get the right sound for that one yet!
    Any advice would be welcome

    Route Env 2 to the Coarse Pitch (CRS) instead of Semi. Semi forces the pitch to jump between semi tones, while coarse will give you a smooth pitch drop.

    In reply to: Patch: Oldschool analog bass.

    October 31, 2019 at 9:37 am #30785
    joehanleyJoe Hanley
    Keymaster

    Nice work! Normally, I shy away from too much modulation on a bass, for fear I might lose the solid low end. But you managed to add that cool modulation, while still maintaining a sturdy low end. Also, I like that you used the bend in almost a subtle EQ capacity.

    Awesome.

    In reply to: FKJ Synth

    October 21, 2019 at 6:03 am #30652
    joehanleyJoe Hanley
    Keymaster

    Hey Joe, anyway you could walk me through how to do this in Massive?

    Sure! Post your attempt (Massive patch file) here and I’ll give you some specific changes to make

    In reply to: How do I recreate this sound!!!

    October 16, 2019 at 6:03 am #29581
    joehanleyJoe Hanley
    Keymaster

    Good song. I love Tom Misch.

    This one’s a nice and simple patch: One Square wave, running through a 24 dB Low Pass Filter. The key is setting the Cutoff right. You want it round enough to sound close to a sine wave, while allowing for a very subtle bright edge. I set Serum’s Cutoff to around 450 Hz, so try around that area. Also, give the Res a little boost.

    And that’s it!

    In reply to: Past Patch Challenges/Requests

    October 11, 2019 at 5:19 am #29538
    joehanleyJoe Hanley
    Keymaster

    Hi Abraham

    Welcome to the forum! Yes, you’re welcome to post your patches to previous topics. I look forward to hearing them.

    In reply to: Patch Request: Pitch Modulated Synth

    October 9, 2019 at 9:21 am #29517
    joehanleyJoe Hanley
    Keymaster

    Cool patch. Try starting with this:

    Oscillators: Two oscillators, both square waves. Give them both unison, with about 4 uni voices, mild detune, and narrow width. Set the second oscillator’s pitch up 19 semitones, and make it louder than osc 1 so those upper harmonics really ring out.

    Filter: Band, 24 dB. Set the cutoff around the middle range, so that it’s both round and light. Give it some generous resonance. And if there’s Drive, turn that up to give it some BEEF.

    Modulation: Since the modulation pattern changes over a 2 bar period, it’s probably either an LFO that lets you draw in the shape, or a sequencer-style modulator that lets you draw freely. In either case, it sounds like a lot of different length saws, each with an audible upward attack to give it that quick swell-in feel. Then route it to both volume and filter cutoff. The volume mod amount can be generous, but make the filter mod amount pretty subtle.

    joehanleyJoe Hanley
    Keymaster

    This patch shall now be dubbed “Indecent Filth”. Try this:

    LAYER 1 – The Filth – played very low (D0)

    Oscillator 1: Thin Pulse Wave

    Oscillator 2: Sine wave, pitched one octave up. Bypass all filters and effects with this one. We just want a smooth sine to fill in the body. Use a separate synth if you can’t bypass.

    Filter: High Pass 24 dB. Take off the bottom off the filth so it’s just the nasty buzz sound. Give it some Drive to saturate it a bit, give it some oomph.

    Amp Envelope: Short Release so it has little tail instead of an abrupt end.

    Distortion: Get filthy. Crank the distortion. You’ll have to experiment with your synth’s distortion types. I went with Serum’s “Diode 2” distortion.

    Reverb: Small size, cutoff/dampen a lot of highs so that you don’t hear the buzz in the reverb, just the body. Decent amount of Mix, to make it pretty wet.

    Pitch bending: To make some pitches bend you can use the Pitch Wheel. Or you can set up Portamento that only triggers when playing legato, and play grace notes whenever you want a note to be bent into.

    LAYER 2 – FM Gonk – A metallic attack transient

    Oscillator 1 – FM Carrier (the oscillator we’ll actually hear). Square wave.

    Oscillator 2 – FM Modulator (the oscillator we won’t hear, so turn its volume all the way down). Sine Wave. Pitch it up 19 semitones. Then turn up the FM amount until you get a nice bright and angry FM tone. We’re going to tame it with…

    Filter: Low Pass 24 dB. Bring down the Cutoff pretty far to get a nice round tone. Give it some generous Resonance and a bit of Drive. Then we’ll modulate the Cutoff with…

    Filter Envelope: Quick Decay/Release, around 250 ms, down to 0 Sustain. Increase the envelope amount until the attack transient sounds bright enough.

    Amp Envelope: Short Release so it has little tail instead of an abrupt end.

    Distortion: Just a bit. Give it a bit of filth.

    Reverb: Very small, but 50/50 mix. We want it to sound like it’s in a small basement.

    Multi-Band Compressor: I just enabled Serum’s Compressor, turned on Multiband mode, and turned up the Gain. Multi-band is great for soul-crushing compressor. Really squeeze this thing to death.

    Pitch Bend: Same as Layer 1

    • This reply was modified 1 month, 2 weeks ago by Joe Hanley.
    • This reply was modified 1 month, 2 weeks ago by Joe Hanley.
    • This reply was modified 1 month, 2 weeks ago by Joe Hanley.
    • This reply was modified 1 month, 2 weeks ago by Joe Hanley.
    • This reply was modified 1 month, 2 weeks ago by Joe Hanley.
    joehanleyJoe Hanley
    Keymaster

    The super nasty bass at 2:15?

    In reply to: Help with Tristam bass patch

    September 20, 2019 at 9:51 am #29303
    joehanleyJoe Hanley
    Keymaster

    These super-grindy patches are always hard to nail exactly, because they’re often using a particular distortion or filter. However, I got pretty close with the following (I’m using Serum):

    Oscillators: Two oscillators, one octave apart, with the same settings: Square wave, 4-voice unison with very little Detune, and a bit of Width. Set the lower oscillator to be a little louder than the upper.

    Sub Oscillator: Sine wave at the same octave as the lower oscillator. Bypass the filter and effects, to get a pure sine wave.

    Noise: Some white noise, layered in so it’s just a little audible

    Filter: 24 dB, max Cutoff, crank the Drive

    Play a low F# and you’re there. Again, these settings on a different synth may result in a different sound, so it depends on the filter. Also, you can try using a various distortions/waveshapers to get the achieved sound.

    In reply to: Help with Tristam bass patch

    September 18, 2019 at 1:19 pm #29281
    joehanleyJoe Hanley
    Keymaster

    Is it the round paddy bass that starts at the beginning, or grinding bass that drops around 0:30?

    In reply to: Patch Request: Pad in track by Arael

    September 13, 2019 at 11:01 am #29228
    joehanleyJoe Hanley
    Keymaster

    Thanks Joe! Hoping to get to your level of skill one day

    You’ll get there! Keep at it.