[Joe Hanley]

Try this:

Oscillator 1: Saw. If your synth has a bowed-string-style wavetable, you can use that instead, and modulate the Wavetable Position with an LFO, to get a more string-like sound. But a Saw will get you close as well. 6-voice Unison with enough Detune to smear the sound without making its pitch wobble.

Oscillator 2: Same as Osc 1, but one octave lower, and much quieter.

Amp Envelope: To create a strong bowed-style shape, set a quick Attack around 35 ms, Sustain to halfway, very quick Decay around 10 ms, and a quick Release around 50 ms.

Distortion: Tube-style, fully cranked.

Filter: It’s important that this goes AFTER the Distortion. 24 dB Low Pass, a decent amount of Res, and bring the Cutoff down a little above halfway. You’re looking for a pretty rounded sound, but tweak until it sounds right.

Reverb: Medium size, very wet. Cut off some lows to reduce the mud.

[Joe Hanley]

I like the vibe of this patch. Kind of rhodes-esque. Try this:

Oscillator: Saw

Filter: Low Pass 24 dB, with a little Drive, and Key Tracking enabled. Bring the Cutoff down until you get the desired roundness.

Amp Envelope: Create a piano shape by bringing the Sustain down and setting the Decay and Release to medium long, around 1.2 seconds.

Velocity: Route it to volume, and play the higher repeating note louder than the lower notes. Also, if your synth allows, route the velocity to the Amp Envelope attack as well. Set the Attack to around 120 ms, and then set the Velocity modulation amount to a negative value that brings the Attack down to zero. Now, the harder notes (higher velocity) will have a sharper attack transient, and softer notes will have a softer attack transient.

NOTE: if you can’t route velocity to amp attack, instead create a second copy of the patch for the lower notes, and set their amp attack to around 120 ms.

[Joe Hanley]

I’m happy to help with one of these patches. If you had to choose one, which would it be?

[Joe Hanley]

Try this instead:

Oscillator: Square

Filter: Low Pass, turn down just a bit to take off the top edge

Voice: Mono with portamento

LFO: Route to pitch to create a fast vibrato. Use the Mod Wheel to control the LFO amount so you can bring it whenever you need it

[Joe Hanley]

I agree. Two synth layers and a Rhodes. The synth layers are the same patch, but with one small tweak. Try this:

Oscillator: Pulse wave, with a pulse width that’s just shy of a full square. We’re going for a flute-like timbre. If you have a flute waveform that may be better, but an almost-square pulse wave should do nicely. Double and detune it with just mild detuning to smear the sound a bit.

Voice: Mono, Legato, with a bit of portamento. Pan it to the right.

Amp Envelope: Quick but subtly noticeable attack, around 130 ms. This helps create a soft flute-like attack. Long Release.

Filter: Low Pass, 24 dB. Bring the cutoff down to around the midpoint. You’ll need to tweak the cutoff when adding the filter envelope and LFO in a minute so don’t obsess over the setting yet. If your synth has a Drive option, turn it up a bit to create some nice saturation.

Filter Envelope: Quick attack, but a little longer than the Amp Attack, around 230 ms. Long Release as well. Just a small amount to create a subtle “wah” attack.

LFO: Modulate the cutoff with a fast triangle or sine wave. Very small amount, as we’re going for a very subtle auto-wah sound.

Reverb: Hall size, a decent amount of wetness.

For the second patch, pan it to the left, and bring the filter cutoff down a bit.

[Joe Hanley]

You should see an “Edit” option near the top left of each comment.

[Joe Hanley]

Try this:

Oscillator: Saw

Amp Envelope: medium release around 500 ms

Distortion: The trick to getting the tone is in the type of distortion you choose, so experiment with types. I found Serum’s Diode 1 was pretty close. Crank the amount. It will at first sound incredibly bright and harsh, so…

Filter: AFTER the distortion, add a Low Pass Filter. Bring the Cutoff down to round the tone until it starts to match the recording. You may have to tweak the distortion type again now that the filter is on. Also, boost the res.

[Joe Hanley]

Sorry for the delayed response! Yes, I think it is doubled and transposed. Try this:

Oscillator: Two osc, saws, one octave apart. You may have to mess with the start phase of one of the osc in order to hear the two separate saw waves.

Amp Envelope: Long release

Filter: Band Pass. Cutoff right around the middle. This will take some bottom off to make it light, and some top off to warm it up a bit.

LFO: Modulate the pitch with a sine wave. Get that nice pitchy wobble.

Reverb: Big room, very wet.

[Joe Hanley]

Sorry for the delayed response on this! Try starting with this:

STRING PATCH

Oscillator: Saw wave. 3-voice unison with mild detune (just enough to smear the sound) and narrow width.

Amp Envelope: Quick attack, around 50 ms. This creates that bowed sound.

Filter: Low Pass, 24 dB. Bring the cutoff down far enough to take the bright edge off the top, but still allow for a bright string-like timbre. Boost the res a bit to narrow the tone. Then crank the Filter’s drive. If there is no drive you can try adding a warm overdrive effect.

Reverb: We’re going for mild ambience here, making it sound a bit like it’s in a room. So a very small size, and just a little wet.

Panning: It sounds like it’s jumping around a bit, though it’s hard to hear due to the dense mix. Try routing the LFO to panning and experiment with it.

BASS

It sounds like a distorted sub bass. Try a saw wave, through a 24 dB Low Pass filter, with the cutoff way down to create a sub bass. Then crank the Drive as high as you can. This will bring out that warm saturation. Then turn up the amp attack a little bit. I think it has some of that same bowed vibe as the string patch.

[Joe Hanley]

I’m hearing two leads. One is round and plucky, the other is sustained and high pitched on the left side. Which one are you referring to?

[Joe Hanley]

The ripping sound sounds like a combination of white noise and a very high pitched square wave.

The bassline is a little trickier. Try starting with this:

Oscillator: Pulse wave, medium width. Two-voice Unison, pretty wide, with just enough detune to hear the two voices on the left and right sides.

Filter: 24 dB LowPass. Turn the Cutoff down pretty far to get a nice round sound. Crank the Drive. Boost the Res. Then modulate the Cutoff with…

Filter Envelope: Zero sustain, medium-fast Decay and Release. Turn up the modulation amount until you get a nice bright attack transient. Then modulate the Decay and Release times with…

LFO: Sine wave, veeeery slow. The idea here is that as you play one bass note after another, some will have a very fast decay, others will have a medium decay. You won’t need much amount here. Tweak it until you get the desired amount of modulation.

Distortion: Experiment with distortion types, but you’ll want a pretty nasty one, with a pretty heavy amount. Turn it up until you get the desired amount of anger.

Distortion patches like these require a lot of tweaking. So be prepared to really play around with Cuttof, Res, Envelope amounts, etc. Lots of tweaking.

[Joe Hanley]

Hi

Which comments would you like deleted? I can do it manually on my end.

We usually respond in a week but are running a little behind right now. Also, keep in mind, we spread out requests among multiple users, so if you post multiple requests at once, some will get answered quicker than others.

Also, when you post a request, please narrow it down to one patch. It’s much more likely to get an answer.

[Joe Hanley]

Try this:

Oscillator
– Two oscillators, both square waves, with one detuned a bit to smear the sound. The detuning will make the low end a bit unstable so…
– Set the third oscillator to a triangle wave, and turn it up until you hear a nice consistent and solid low end

Filter: Turn the low pass cutoff pretty far down and crank the resonance (“Emphasis” on the minimoog)

LFO: Sine wave, modulating the cutoff. Slow rate. Now you’ll have to tweak the amount and the cutoff until you get the sound just right. You’ll probably have to adjust the resonance as well.

Glide: Turn it up until you hear the pitches subtle slide into each other.

[Joe Hanley]

Currently, we don’t have plans to update the Massive pack for Massive X, as it’s essentially a completely different synth that would require a new Lesson Pack. However, I did create a youtube video that covers some of it’s more unique and special features:

[Joe Hanley]

I have to admit there is one element in this patch that’s got me stumped. We’ll get to that last. Try starting with:

Oscillator: Pulse Wave, medium Pulse Width. 6 voice Unison, full width, with enough Detune for a strong smearing sound. Then apply Oscillator Sync from another oscillator, and raise this slave’s pitch until you start to get a matching tone. Then, double the oscillator pair, setting the new oscillators both an octave higher. Some synths apply sync within one oscillator (like with Serum, the master osc would be in the background). However, if the synth you’re using does not, you may have to bring in an additional synth for this extra pair.

Filter: Low Pass 24 dB. Bring the Cutoff down a bit to take some the top edge off. Modulate with…

Filter Envelope: Create a quick attack transient by setting a very fast Decay and zero Sustain.

Amp Envelope: Accentuate the attack transient by bringing the Sustain down a bit and setting the Decay to match the Filter Envelope Decay. Then boost the overall volume of the synth.

LFO: Square wave (or a custom square-ish pattern) routed to volume, with a 16th rate. Then set the Delay to 1/8th. Now, when you hold a note, it will start to stutter. This could also be done manually by automating the track’s automation, but that option would be more tedious and less synth-centric.

Portamento: Turn it up until you start to hear it between notes, but don’t let it get so high that it starts to drag the rhythm.

Delay: 1/8th note, just a little wet.

Reverb: Medium, also just a little wet.

Stumped: I’m also hearing an occasional boost in the attack transient. For example the very first note. Sometimes I think it’s a pitch-based transient. Or a big volume transient. Or a big filter transient. Or a combination of both. However, it often happens when the melody is graced. When I try making it with an envelope, it re-triggers awkwardly over the grace note and it’s following destination note. So I switch to Legato mode. However, in Legato mode, we lose the existing amp/filter transient on every note. Perhaps a synth that allows you to set legato mode individually for each envelope?…