Anonymous
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Try this:
Osc 1: Pulse Waveform with medium Pulse Width. Apply some Unison, about 4 voices, enough Detune to smear it, and 0 Width/Spread. And if available, set the Unison voices to start their Phases over on each new note. This may be called “Start”, “Retrig”, or you may see a Phase knob which you can set to 0.
Amp Envelope: Create the pluck by setting the Sustain to 0, and the Decay and Release to a very fast value.
Filter: Lowpass, 24 dB slope. If your synth has Drive turn it up to give the sound a bit more oomph. Then turn up the Res a bit to shape the sound. Finally set the Cutoff down to about the midpoint, and modulate it with…
Filter Envelope: This will be similar to the Amp Envelope shape, a pluck, so set the Sustain to 0, and turn up the Modulation Amount. The Decay and Release should be even faster than the Amp’s, so fast that you don’t really hear the cutoff moving down, but instead get a sharp “tick” at the front of the sound. You may have to play with the Modulation Amount and Decay/Release speeds.
Osc 2: Noise. Just dial in a little bit of White Noise to add a bit of dirt and wash to the sound. This will be subtle.
Delay: Pretty Wet, Ping Pong, about 1/8th note Rate/Time. You can mess around with the settings, but you’re going for that left/right bouncing effect.
Reverb: Modest Wetness, pretty big Size, and if available use the Damp option to remove some of the high end in the reverb.
In reply to: Matahari – imperatrice
It could be an organ, but I think it’s a synth. Try this:
Osc 1: Saw wave, 5-voice unison with narrow width and enough detune to really smear it.
Osc 2: Same as Osc 1, but one octave higher.
Filter: 12dB Lowpass. Set the cutoff somewhere in the middle and modulate it with…
LFO: Triangle or Sine wave, at a fast 16th note rate. A modest amount. You’ll have to tinker with the mod amount and cutoff to get it just right.
Phaser: Just a light bit of it to create the subtle sweeping filter-ish sound.
In reply to: Patch request: Squary lead
In reply to: kraftwerk numbers drum pattern
In reply to: Vintage Synth Bass on Ableton with Analog Instrument
In reply to: Patch request: Squary lead
In reply to: Bass from ‘Promesses’ by Tchami
I love this bass! And it’s tricky. I thought it might be FM as well but I got much closer without it. Try this:
Osc 1: Square wave. 2-voice unison with very little detune and a lot of width. You don’t want any smear or wobble from the unison, just the width. This will create that low and wide solid bass end.
Osc 2: Saw wave. 3 octaves higher. 2-voice unison with no width and pretty aggressive detune. This will create that higher-pitched wobbly tone.
Filter: 24 dB low pass. Crank the drive. Bring the cutoff down to the mid-range, to be modulated by…
Filter Envelope: We’re going for a subtle pluck shape. 0 sustain, and kind of quick decay and release around 550 ms. A modest amount of modulation. This will create a subtle and bright attack on the sound.
Amp Envelope: Also a pluck like the Filter Envelope with similar settings. Except, if you can change the curve of the decay and release stages, make them linear so that the note holds a bit longer before cutting off kind of abruptly.
Compression: Pretty heavy, maybe about 6 dB worth of compression to squeeze the sound.
EQ: Boost the low end.
In reply to: Need help with a deep bass sound
Nice bass patch. Try this:
Oscillator 1: Pulse wave, medium pulse width. 2-voice unison, with enough detune to make it sound a little aggressive. Unison width should be a little wide.
Oscillator 2: Same as Osc 1 but one octave higher
Filter: 24 dB lowpass. Set the Cutoff around noon, and then modulate it with…
Filter Envelope: Zero sustain and really quick decay and release to create an attack transient. Modest mod amount, just enough to create that aggressive pointed attack.
Amp Envelope: Similar pluck shape as filter envelope but with longer decay and release so you can hear the sustain level of the filter envelope (the round tone).
Voices: mono
Delay: 1/8th note delay, and shift the right delay just slightly later so that you hear the delays in stereo. A little wet and a modest amount of feedback. The goal here is to hear the first delay clearly but quietly on the left and right edges of the stereo field.
In reply to: Percussive Synth in Castelluzo’s “Love”
This is a really nice patch, and trickier than it seemed. I got pretty close with the following:
Osc 1: Saw wave
Osc 2: Pulse wave, about medium width. Same volume as osc 1. Combining these two waveforms gives you the fullness of the saw and the organ-esque texture of the pulse.
Osc 3: White Noise
Amp Envelope: Turn up the attack until you start to notice a subtle and quick swell in. Then give it a long release.
Filters: Run in parallel
Filter 1: Run Osc 1 and 2 through this filter. Lowpass, 4-pole. Turn the Cutoff down until you get a nice round sound. Boost the res a little bit.
Filter Envelope: Modulate Filter 1’s cutoff. Use a small amount and increase the attack until you get a subtle bright swell-in on the beginning of each note. Long release.
Filter 2: Run the Noise through this. Bandpass with a fairly narrow bandwidth and hefty resonance. Then adjust the cutoff to somewhere in the mid-range. You’re going for a sort-of bright but narrow and mouthy kind of shape.
Delay: Time around 1/8th (depending on tempo) and a fair amount of feedback so the echoes ring out.
Reverb: Big and modestly wet.
I wouldn’t mind trying to do this for the Korg Minilogue – I recently purchased one.
Yes! Please do.
In reply to: Patch Request: ‘Shimmering’ Descending Sci-Fi Sound
Try this:
Oscillator: Square wave
Amp Envelope: Set the release so that each note rings out
Voices: Poly
Filter: 24 dB lowpass. Bring the cutoff down until you get the round-ish tone. Then boost the res pretty heavily to really make it stick out.
Filter Envelope: We’ll use this to create that little attack transient on the sound. Zero sustain, with a really fast decay and release, and just a little modulation amount.
Delay: Quarter note delay, pretty wet so you can clearly hear the delays
Reverb: Medium hall, fairly wet
Two things
– Yes you could use a triangle wave instead of filtering a square wave. However, the square provides more upper harmonics for the filter envelope to use in order to make the attack transient
– The descending pitch is most likely from playing the actual notes, as opposed to some type of pitch modulation. I say this because the chords these pitches outline change throughout the song.In reply to: Patch request: Squary lead
Hey I absolutely love your tutorials, but it would be good if you could find another way of saying master/slave, because it’s a real anxiety trigger for a black person like me, and it’s always been that way. I’m pretty sure most other black people feel the same way.
I agree it’s insensitive. There’s actually been some debate around this in the technology community: https://en.wikipedia.org/wiki/Master/slave_(technology)#Terminology_concerns
Do you have a suggestion for alternative terminology?
In reply to: House bass sound
I think it’s a combination between doubled oscillators one octave apart and filter key-tracking. Try this:
Oscillator: Two of them, both medium pulse waves. Set the second oscillator up one octave, and give it a wide 3-voice unison with a fairly aggressive detune.
Filter: 24 dB lowpass. Turn down the cutoff and modulate it with an envelope to give it a quick decay/release, creating the “meow” sound. Turn up the resonance to really bring out the “meow”. Now turn on key-tracking, which will make higher notes brighter. Then disable the higher octave oscillator, and turn down the cutoff while playing a low note, until you hear some subby boom in it. Then turn the higher octave back on.
This will require a lot of tweaking of the various filter parameters. But the idea is, the low notes should trigger a cutoff value that creates a subby boomy sound, while the higher notes don’t.
In reply to: Saving Lessons
