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In reply to: Viper Diva – En Y Lead Request
In reply to: Viper Diva – En Y Lead Request
Try this:
Oscillators: Two osc, both saws, with really big unison: As many voices as you can (I went with 12), just enough detune to smear it, and narrow width. Set the second osc down one octave.
Noise: Layer in some white noise. You don’t need much. Just to give it some more “wash”.
Filter: 24 dB Lowpass. Lower the cutoff just a bit to take off some top edge. Crank the drive if it’s available to really saturate and add body. Bit of res to shape the sound.
LFO 1: Descending saw wave, routed to pitch, very slow rate.
LFO 2: Route to amp to create the note pattern. This would require a custom shape, like a narrow pulse width wave, with an extra little pulse at the end.
Distortion: Crank this to give it that dirty edge.
Reverb: Big size, just a little wet.
In reply to: FM8 or other FM Synthesis Lesson Pack?
Hi Joe, I was wondering if you have any update on this? I am in music school and honestly Syntorial is what really pulls it all together for me. Awestruck
I love to hear that! It’s on the backburner for the time being. We’re currently working on Syntorial 2.0 and a new course on song structure/arrangement. But I still have eyes on it for the future.
We do have youtube vid on how to make an FM bass with Dexed:
In reply to: I’m showing my age with this bass request.
Because I’m serious as cancer, when I say Rhythm is a dancer.
As well you should be. This was a bit trickier than I expected. The key is in using two different waveforms in the two oscillators:
Oscillator 1: Saw
Oscillator 2: Square, 1 octave up. Slightly lower volume than Osc 1.
Filter: Lowpass, 24 dB. Cutoff about halfway down for a pretty round sound.
At this point, when you play a low C, you should hear some unexpected upper harmonics, kind of like you do in the recording. It almost sounds like a 3rd oscillator pitched way up. But for some reason these two waveforms one octave apart create their own upper harmonic, but only when playing certain notes. It gives it that organ-ish kind of sound.
Amp Envelope: Zero Sustain, with Decay/Release around 400ms.
Voices: Mono
Delay: Create a single slapback delay by turning the Feedback all the way down, setting the rate to 16th, and turning the Mix up to just below 50%.
In reply to: Patch Request
Try this:
Oscillator: Two of them, both Saws, one octave apart. 5-6 voice Unison with enough Detune to smear, but not be aggressively pitchy. Make the Unison wide.
Filter: 24dB Lowpass. Bring the Cutoff down to make a pretty round sound. Give it a decent amount of Res for later in the song.
LFO 1: 16th note Saw wave routed to both Oscillator Volume and Filter Cutoff. This will create the “sequence” by playing 16th notes while you hold the key(s) down. In the beginning of the song the filter modulation amount is very little, but around the 2 min mark the the mod amount becomes much higher creating a bigger and brighter sound. This is where the filter’s Resonance starts to matter so you can adjust it now. Also, if your synth lets you, curve the Saw upward so it’s more like a hump instead of a steady slope, to create a fatter sound.
LFO 2: 1/4 note Triangle wave routed to the overall volume. And set it so that it starts at the bottom of the triangle wave. Now each beat will start quiet, become loudest on LFO 1’s third 16th, and then go back down in volume for the last 16th. If your synth allows, curve the initial upward ramp of the triangle wave down so that the first two 16ths from LFO 1 are quiet and the 3rd becomes suddenly loud.
In reply to: PATCH REQUEST: Pad sound
You’re very welcome!!
You’re pretty close, nice work. The main difference I’m hearing is in the filter movement. The original version has a more pronounced filter decay. Try increasing the resonance, bringing the sustain down, and increasing the filter envelope amount. This will make the sound brighter in the beginning to get that washy bright attack, and then also create a more dramatic downward filter swell.
In reply to: Sudoverse – In the City Lead
In reply to: Sudoverse – In the City Lead
In reply to: Sudoverse – In the City Lead
This one’s tricky. For the sound design, try this:
Oscillator: Saw wave.
Filter: High Pass to take off just a little bit of the bottom end
Distortion: Picking just the right distortion type is what will get you close to a match. Overall it should be a very aggressive one. In Serum, I like Diode 2 for this. Crank the drive amount.
EQ (or second filter): Create a narrow boost in the mid-range, and then use a triangle or sine LFO to modulate the frequency very slowly up and down.
Delay: Wide stereo delay. Not much here, just enough to hear faint echos in the background.
Reverb: Big size, but like the delay, just a little wetness.
As for the gated note shapes, I think this a step sequencer that’s built into the synth. For example, Serum allows you to draw steps into the LFO. So you can modulate the volume in very specific ways over time. Each note has a different shape in this patch. Some are just a straight on/off shape (straight horizontal line), others have a decay (diagonal line).
And in some cases, I hear the notes bending between each other. In those cases, you can overlap the MIDI notes so that portamento kicks in (with portamento enabled in the synth of course)
I think overall it’s a very detailed step-sequencer and/or MIDI sequence.
In reply to: PATCH REQUEST: Pad sound
In reply to: Pendulum – Nothing for free [They’re BACK!]
This is reminiscent of a big trance-style lead. I made a video about this a while back:
Take that patch and make a few modifications:
1. Cut the number of oscillators down to two and set Osc 2 up one octave.
2. Back off on the unison detune amount
3. Use a Low Pass filter to cut off some of the highs
4. Take away the distortion. This patch is a little cleaner.This is a giant trance lead. We previously made a video for a patch like this:
Try starting with that patch, and then make a few modifications:
1. Transpose Osc 2 up one octave, and turn off Osc 3 and 4. This will give you two big unison saws one octave apart
2. Switch to poly mode so you can play chords
3. Move the Amp Sustain up to 100%.
4. Apply sidechain compression, triggered by the Kick drum. This way every time the kick hits, the synth’s volume will dip dramatically down and then swell back up
In reply to: PATCH REQUEST: PVRIS – What’s Wrong: Intro Fill
Might be a guitar. But it has such a crunchy digital vibe that you can get it with a synth. Try this:
Oscillator
- Waveform: Saw
- Unison: Six voices with Detune turned up enough to make it aggressive and almost a little out-of-tune. 50% Spread/Width
Amp Envelope
- Description: A short tail
- Release: Quick but noticeable. Around 220 ms
Filter:
- Type: Bandpass
- Slope: 12 dB
- Cutoff: Set it so that you’re taking more lows off than highs. It’s a bright and kind of small sound.
- Res: Maybe have to boost it a bit, depending on the synth. This is to help determine how narrow the sound will be.
Distortion
- Type: Tube-style, though others may work
- Drive/Amount: Pretty heavy. Really break up the sound, to get the distorted guitar vibe
Reverb
- Size: Medium. Like a small Hall.
- Wet: Wet enough to be heard after the note ends, but not so wet that it consumes the sound.
In reply to: New moderator alert!
Ooh. This is a really nice patch. Unique too. Try two layers:
LAYER 1: Tone
Oscillator
- Waveform: Square
- Unison: Three voices, full stereo spread, with Detune turned up just enough to separate the voices enough to be spread out.
Filter:
- Type: Lowpass
- Slope: 24 dB
- Cutoff: Turn down until it matches the tone. A medium roundness that still allows for some brightness
Envelope
- Description: A quick swell.
- Attack: Create the swell in. Depends on the synth but somewhere around 200-300 ms. If your synth allows it set the curvature of this stage so that it dips downward. This will make it swell up more suddenly
- Sustain: 0
- Decay/Release: As soon as the Attack ends this should bring it down pretty quick. Try around 400-500 ms
Delay
- Rate: 1/8ths
- Wet: Not too much. This will mix in with the upcoming reverb to create a subtle background tail to the sound
Reverb
- Size: Medium. Like a Hall.
- Wet: Pretty wet. Kind of wash out the sound.
LAYER 2: Noise – This is what creates the flute character by adding a breathiness
Oscillator
- Waveform: White Noise
- Unison: Two voices, full stereo spread
Amp Envelope, Delay, and Reverb
- Same as layer 1
LFO
- Waveform: Triangle
- Rate: 16th
- Destination: Volume
- Delay: Turn this up enough that the sound will be allowed to complete amp envelope before the LFO kicks in.
Mod Wheel
- Route this to Amp Envelope Sustain. Keep it down. Then after the Amp Envelope completes, turn it up to bring the noise back in, and at this point it will also be modulating courtesy of the LFO
