Forum Replies Created
September 15, 2021 at 10:06 am #44681
1. Play a chord. It sounds like you’re playing a single low note and a single higher note. But the example is playing full chords. That’s going to make it far richer as the close notes rub against each other for a more lush thick sound.
2. Raise the cutoff a bit to make a little brighter.
3. Bump up the res a bit to give it more point.
I’m using the hint button now, it helps a lot.
There is no doubt that the world of synthesis is a full and challenging world
We decided to step out of our comfort zone and do something big and challenging.
Step One “Decision Making” Step Two is “Perseverance”
So come on and let’s not despair now .. (:
I wish us, and everyone who will study here to succeed in doing what he dreams of
Well said!September 8, 2021 at 9:23 am #44605
What a big warm lush pad. Can you post an audio clip of your attempt? If you’re close it may just need a few key tweaks.
It must be the most annoying thing I’ve ever done in my life. So frustrating and time-consuming. There are so many parameters affecting each other that it’s almost impossible to figure out. I quit. Great program, but these complex group challenges don’t help.
Sorry to hear that! What Group challenge are you on now?
Unfortunately, I don’t have the time to make individualized tutorials, and this isn’t really “synthesis”. But if you post a clip of your attempt I’m happy to offer feedback.
A soft piano run through a big and pretty wet reverb should do the trick. Perhaps Spitfire or Emotional? Try one of those, put a big reverb on it, record a little, and post a clip here if you still need help.
This sounds like a standard piano with heavy reverb on it. What plugins have you tried so far? And what DAW are you using?
Oscillator 1: Square
Oscillator 2: Square, one octave lower, and much quieter than Osc 1.
Filter: 24 dB Lowpass. Bring Cutoff down far enough to round it a bit but not so far that it becomes muffled. Bring up the Res a bit. Then modulate the Cutoff with…
Filter Envelope: Just a small amount. Very fast Decay/Release around 90 ms, 0 Sustain. We’re just looking for a little attack transient.
Amp Envelope: Standard pluck shape. 0 Sustain, and quick Decay Release around 250 ms.
Reverb: Big size, pretty wet.
If you post a clip of your attempt I can suggest some tweaks to make.
Your pretty close. Some adjustments to try:
1. Your filter envelope’s attack stage is creating a horn-style attack transient which I don’t hear in the actual track. Try bringing it down to 0 (or maybe a little higher than 0 to avoid a “pop”)
2. Reduce your filter envelope’s modulation amount. It’s too bright.
3. Add a long slow decay/release to the filter envelope.
4. Add Reverb
5. Enable velocity so that not all of the notes are the same volume
6. Are you modulating pan with an LFO? If so, try adding slow-ish chorus effect instead. That will create a lush and wide sound, and some left/right movement.
Oscillator 1: Saw
Oscillator 2: Saw, one octave higher, and much quieter than Osc 1. We’re just adding a subtle higher layer here.
Noise: White noise. Also quieter than Osc 1.
Filter: 24 dB Lowpass. Turn the Cutoff down pretty far to start to get a nice round sound. If your synth has Drive, give that a boost. And turn on/up Key Tracking, making it strong enough that the higher notes are brighter than the lower notes. Then modulate the Cutoff with…
Filter Envelope: Quick Decay around 300 ms and a decent amount of modulation, to create a bright attack transient.
Ambience/Reverb: Very small size, but pretty wet, so it sounds like it’s in a basement.
Then gradually over time, turn up the Cutoff. The bass will get brighter and the Noise will be more noticeable.July 8, 2021 at 9:39 am #43978
Classic. The Flashlight bass is fat and simple. Try this:
Oscillator 1: Saw
Oscillator 2: Saw, one octave higher. And turn up the Fine knob just a little bit to create some subtle movement.
Filter: 24 dB Low Pass. And ideally you want a Moog-style filter that you can Drive. Really crank the Drive. Turn up the Res a little.
LFO: Modulate the pitch to create vibrato, and route the Mod Wheel to the LFO Amount so that you can turn it off and on.
Credit to the below video for the steps. And it’s interesting to watch him recreate it on an actual Moog:
This may be a Mellotron, but you can get pretty close with a synth. Try this:
Oscillator: Saw wave
Filter: 24 dB Lowpass. Give it a little bit of res to narrow the sound a bit. Bring the Cutoff down a decent amount to get a rounder sound. Then modulate it with…
Filter Envelope: Bring the Sustain to 0, and set the Decay to a pretty fast rate around 350 ms, and then apply just a little modulation amount. This adds just a subtle brightening on the start of each note.
Amp Envelope: Quick Attack around 130 ms to give the start of each a note kind of blownfeel. Bring the Sustain down about halfway and set the Decay to around 1 second. This creates a sudden drop in volume after the Attack, creating an expressive blown-like feel.
Noise: We’re going to create a flute-like attack transient on the beginning of the note. Route a separate envelope to the Noise volume, and set its Sustain to 0, and give it a medium-fast Decay around 1 second. Experiment with different Noise types until you find that sounds right. You may want to pitch the Noise down to make it darker.
Most of the parameters from this video translate over to Serum pretty easily. Oscillators, filter, envelopes, and glide.
The one difference would be Load. Instead, in Serum, use the Filter’s Drive knob to saturate and warm-up the sound.
That is 80s and it is BIG. 🙂 I have a feeling it may be a synth layered on top of a horn sample, which weren’t all that accurate back in the day and had kind of a synth vibe. But, try doing it with just a synth:
Oscillator 1: Saw. Unison with a bunch of voices, 6 if you can. Strong Detune, enough that it almost sounds a little pitchy, to get a really aggressive sound. No Width on that Unison.
Oscillator 2: Same as 1, but one octave higher
Filter: 24 dB Low Pass, with just a touch of Res. If your filter has Drive, give it a decent amount. Then bring the Cutoff down just a little bit, to be modulated by…
Filter Envelope: We’re going to create a really subtle horn attack transient that will give the sound some punch. About 50ms Attack and just enough Mod Amount to bring the Cutoff back up to max brightness.
Amp Envelope: Short Release, around 80 ms, just to get rid of the abrupt note end.
Reverb: Medium size, wide, little wet. The sound should still be dry enough to be up front, but have that big space behind it to make it more 80s Epic. 🙂