Forum Replies Created

  • In reply to: Help with making this synth sound

    May 4, 2020 at 10:02 am #34956
    joehanleyJoe Hanley

    Thanks Joe. I’m on serum so I only have the two main oscillators, for the third one you listed would it work the same if I used the sub oscillator?


    In reply to: Help with making this synth sound

    May 1, 2020 at 9:59 am #34926
    joehanleyJoe Hanley

    Try this:

    – 1: Pulse wave. Set pulse width to a little less than full Square.
    – 2: Sine wave. Mix a bit in just to fatten up the pulse wave sound.
    – 3: Pulse wave. Full square, once octave below. This should be quite than Osc 1, but loud enough to get some of that low growl in there.

    Unison: 4 voices, a little width, pretty heavy detune.

    Filter: Lowpass, 24 dB. Bring Cutoff down about halfway to get a pretty round sound. Then modulate it with…

    LFO: Fast saw wave. This will create a repeating-note effect while also creating a quick decaying filter shape. Play around with the LFO Amount and Filter Cutoff until you get the right sound.

    In reply to: PATCH REQUEST: bass

    April 29, 2020 at 8:19 am #34892
    joehanleyJoe Hanley

    This patch is simple but requires filter tweaking to get just right. Try this:

    Oscillator: Two oscillators, both squares waves, one octave apart. Make the lower one slightly quieter than the upper one.

    Filter: Low pass, 24 dB. Turn the cutoff way down so it’s almost a sub bass. Then boost the res a bit. Modulate the cutoff with…

    Filter Envelope: Sustain at 0, with a medium Decay around 800 ms. And then just enough envelope amount to make it go “eeow”. Then, you’ll have to tweak the Cutoff, Res, and Envelope amount until it sounds just right.

    In reply to: Pitchy arcade BASS – Flying Lotus 1983

    April 29, 2020 at 8:10 am #34890
    joehanleyJoe Hanley

    This one is interesting because it’s both videogame-lo-fi and fat at the same time. Try this:

    Oscillator: Sine wave

    Distortion: Overdrive-style. Something warm, and tube-like. Turn it up until the sine wave starts to sound like a warm and kind-of-dirty square.

    Voices: Poly. Usually, a bass would be mono. But occasionally it sounds like the patch distorts a bit, which I think is happening because the bass is played in an intentionally sloppy manner, allowing occasional notes to overlap, which then overdrives the distortion.

    Portamento: The pitch is kind of bendy, which I think is coming from portamento. You’ll need a synth that allows for portamento in poly mode. Sylenth1 and Serum come to mind. Just a bit of portamento, so you sort-of hear it once in a while.

    The only thing missing from the above is something to make it sound lo-fi. Maybe a vinyl or tape-style plug-in? The whole track has that lo-fi vibe so maybe he’s running the whole thing through something like that.

    In reply to: PATCH REQUEST: Lead synth ‘assignment’

    April 29, 2020 at 7:50 am #34887
    joehanleyJoe Hanley

    It sounds like there’s some FM or Ring mod involved. That’s what would give it that metallic bell-like quality. And then, yes, to create that really wobbly effect, a fast LFO. Start with that and see what you get. Post an attempt and we can go from there.

    In reply to: ARP Solina on Massive

    April 24, 2020 at 9:54 am #34743
    joehanleyJoe Hanley

    It essentially breaks down to a string-style patch using a saw wave. However, there are two specific aspects of the solina that give it a particular sound: its analog signal path, and very lush chorus.

    Massive has neither of those things, so while you can get very close, it will still be missing that warm vintage vibe. In particular, I’ve never liked Massive’s Chorus. It’s very digital and thin to me. So there are other synths more suited for this. (Diva comes to mind, with its beautiful Chorus effect. Or even Serum with its Moog-style filters and a nice Chorus).

    In any case, you’ll want this patch structure:

    Oscillator: Saw wave.

    Filter: 24 dB Low Pass, analog emulation if possible (like Moog). Turn the
    Cutoff down a bit. You still want a bright sound, but get rid of that super-bright synthy top end. Boost the Res up a bit to focus and narrow the sound. If your Filter has Drive, turn it up to add some warmth.

    Amp Envelope: Medium-Fast Attack. It should fade in very quickly, to emulate that bowed string attack. Add a short Release as well so that it doesn’t stop abruptly.

    Chorus: Lush. You can experiment with the Depth and Rate to get the sound you like.

    MASSIVE-SPECIFIC – Few things to help Massive get there

    Chorus: Turn the Depth down a bit to get rid of that out-of-tune sound.

    Unison: Since the Chorus is kind of anemic, set the Oscillator to a two-voice unison, with just a bit of Detune. This will help make the Chorus more lush.

    Feedback: Turn it up a bit to drive the filter a little harder. This will warm up the sound a bit and make it slightly more analog.

    • This reply was modified 1 month ago by Joe Hanley.

    In reply to: Fat Bass Sound

    April 24, 2020 at 9:23 am #34740
    joehanleyJoe Hanley

    That’s a Sub Bass which can be achieved a few different ways. But I think this one is a Triangle wave, through a Low Pass Filter. Just bring the Cutoff pretty far down and then crank up the volume.

    In reply to: PATCH REQUEST: Lead synth ‘assignment’

    April 15, 2020 at 7:43 am #34378
    joehanleyJoe Hanley

    There’s a few different sounds happening in there, so it depends on which one you’re going for. How close have you gotten? Post your attempt here and I can help tweak it.

    In reply to: Multiple leyer sound

    April 15, 2020 at 7:41 am #34376
    joehanleyJoe Hanley

    You’ve definitely got the gist of it. I’m hearing the following differences:

    1. Your white noise is much louder. I’d back off a bit

    2. Their lead is big, wide and wet. Yours sounds narrow. Try applying some Unison with a lot of width but not a ton of detune, and crank up the reverb on it

    3. Their overall mix is brighter and compressed. Try adding EQ and compression after all of the layers.

    In reply to: PATCH REQUEST: pad

    April 15, 2020 at 7:34 am #34373
    joehanleyJoe Hanley

    Sounds like a saw wave with unison. Try experimenting with the number of unison voices and detune amount. Then just give it a long decay and release in the amp envelope. The pumping effect is most likely from sidechain compression, though you can mimic it with an LFO routed to the volume.

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

    In reply to: Glitchy Screen with the Lessons

    April 15, 2020 at 6:12 am #34367
    joehanleyJoe Hanley


    Sorry for the trouble. We’ve had this issue come up once before and solved it by doing the following:

    1. Open Finder, and from the Go menu select “Go to folder…”
    2. Copy and paste in: /Library/Quicktime
    3. Download and unzip the attached file, and move it to the folder from step 2
    4. Restart your computer

    If that doesn’t work, submit a support request (“Support” at the top of this page, followed by “Submit a Request” at the top of the next page) and we’ll dig deeper

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

    In reply to: PATCH REQUEST: main synth keys in ‘bill up’

    April 10, 2020 at 10:40 am #34225
    joehanleyJoe Hanley

    Try this:

    1. Oscillators
    – Osc 1: Square. The main tone.
    – Osc 2: Sine. This adds some body to the tone. It should be a little quieter than Osc 1.
    – Osc 3: Triangle, 1 octave down. The volume can be around the same as Osc 1, but you may have to tweak it.

    2. Unison: Two voices, very little detune, full stereo width. We’re just using this to widen the sound, and provide a touch of smearing.

    3. Filter: Low Pass, 24 dB. Bring the cutoff pretty far down. We want a nice round tone, almost kind of organ-like. Boost the res a bit. And modulate the cutoff with…

    4. Filter Envelope: We’ll use this to create the attack transient, creating the pluck effect. Set Sustain to 0, and make the Decay really fast, around 90 ms. Then bring up the amount until you hear the plucky attack transient. The higher the amount, the brighter the pluck.

    5. Amp Envelope: We’ll use this to emphasize the attack transient. Set the Sustain to about halfway, and the Decay to fast, but a little slower than the filter envelope decay, around 170 ms. Then bring up the overall volume of the synth. Now you should have a pretty aggressive pluck.

    6. Reverb: Very big, but just a touch of wetness.

    In reply to: PATCH REQUEST:This pad sound

    April 10, 2020 at 10:24 am #34222
    joehanleyJoe Hanley

    This may be a Rhodes (or some other E Piano sample), not a synth, running through chorus and phaser. But you can get close with most synths, as long as you have a phaser effect.

    Osc: Two oscillators, both pulse wave, between square and medium. The pulse width will require some tweaking to get that E Piano sound. Detune them very slightly from each other. We don’t want noticeable pulsations, we’re just looking to smear the tone a bit.

    Filter: Low Pass, 24 dB. Turn the Cutoff down pretty far so it’s a nice warm and round sound. Add a little Res. Modulate with…

    Filter Envelope: Very small amount. Sustain at 0, Long Decay and Release. We’re mimicking the subtly brighter attack of an e piano, along with its slow rounding as the note rings out.

    Chorus: Slow and subtle.

    Phaser: Slow but more obvious. This creates that swirling effect.

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

    In reply to: Patch Request: Kraftwerk – Europe Endless (Bass)

    April 10, 2020 at 10:06 am #34219
    joehanleyJoe Hanley

    The first thing I’d change is the filter envelope. Kraftwerk’s patch sounds like it’s spending more time in the upper range of the filter than yours, creating an overall brighter sound. You can try either making the decay/release longer, or if your synth gives you the option, change the curve of the decay/release stages so that it’s either straight or curves upwards.

    I also suspect there isn’t enough movement in the sound (like you mentioned with chorus or unison) but it’s hard to tell without the brightness in place.

    As for the attack transient, when the drums come in, it disappears, which makes me think it’s possibly a separate layer. Also, it doesn’t happen on every note, but reoccurs on the same notes as the pattern repeats. So perhaps it’s a separate layer with volume that’s modulated by an LFO?

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

    In reply to: Patch request: Squary lead

    April 10, 2020 at 9:56 am #34217
    joehanleyJoe Hanley

    You’ve definitely got the gist of it. Try adjusting two things:

    1. Bring the mod env amount down a bit, so it doesn’t start as bright.

    2. Experiment with distortion. In Primer’s case, it’s just a simple one-knob distortion, that is meant to mimic a tube distortion. But to achieve something more aggressive you could try experimenting with more abrasive distortions. Try various plug-ins, or recreate the patch in another synth that has more distortion/waveshaper varieties.

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