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In reply to: On Your Own
Hi Colin. They should show up automatically in the VST/AU version of Syntorial’s synth, known as Primer. Few questions:
1. Have you installed Primer? If not, log into your online account and go to Downloads
2. When you open Primer in your DAW, open the presets dropdown at the bottom, and you should see the “On Your Own” folder there.Hi! No, Opsix is not a good choice.
Don’t get me wrong: The Opsix is a cool synth, and FM is a fascinating form of synthesis that can make some wonderful sounds. But the differences between FM and Subtractive/Wavetable are substantial enough that you’d have a tough time applying Syntorial to the Opsix.
The Korg Minilogue XD would be a much better choice. It has a lot of similar parameters to Syntorial so the translation process will be easy. And it has some additional expandability for you to grow with.
Good call Benedikt. The pitch in Noisemaker is indeed one octave lower. A simple solution would be to turn NoiseMaker’s “Transp” (short for Transpose) knob in the Master section up one octave. Then it should match pretty closely.
Also, one thing to keep in mind, is I wouldn’t worry about getting a 100% perfect match. Get as close as you can of course, but due to the fact each synth’s filter is like a fingerprint, there will sometimes be some very subtle differences even when you nail the settings.
Without the resonance I could not achieve the right balance between dullness and the slight buzzing.
Good call. Yes, I too have to increase the resonance in TAL to get a match. And visually the Cutoffs won’t look the same. I find I have to turn TAL’s down further than Primer’s.
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In reply to: How to Achieve That “Buzzy Texture”
Cool sound. I got pretty close with this:
Oscillators: Two of them, Saws, one octave apart.
Filter: Low Pass. Turn the Cutoff down to make it round, and then use the Filter Envelope with 0 Sustain and a quick Decay to create a bright attack transient.
Unison: 2 voices, Detuned pretty heavy so it sounds kind of out-of-tune. And spread it wide into the L/R stereo field.
Distortion/Overdrive/Waveshaper: Each one sounds so different so you’ll have to experiment with different options. But this is where the angry/buzzy aspect comes from.
Combining the lower octave oscillator, filter envelope attack transient, and the pitchy Unison, with just the right type and amount of Distortion should achieve that particular sound you’re looking for.
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In reply to: The future of the lesson packs
Pigments noted! It’s high on our list. We’re currently kicking around an idea about “cheat sheets” that will show you how each control in Syntorial converts to each synth. This will allow us to cover more synths than if we did full video series on each synth.
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In reply to: On My Own 4, Phase Plant, help please…
In the PhasePlant “Analog” oscillator you’ll see a blue “Semi” label near its bottom left that works the same as Syntorial’s “Semi” parameter. And at the bottom right of the oscillator you’ll see a “Gain” knob that will set the Oscillator’s volume. So instead of a Mix knob that sets both Oscillator volumes at the same time, you’ll set each Oscillator’s volume separately.
Try the following:
Oscillator: Saw
Voice Mode: Poly with enough voices to play the chords
Filter
– Low Pass 24 dB
– Turn down the Cutoff about halfway to get that nice warm round sound that the sound rests on after the initial attack
– Turn up Key Tracking all the way so that the higher notes are brighter and ring out a bit more than the lower ones
– Filter Envelope: Create the horn-style attack transient by turning Sustain to 0, and using a really quick Attack and Decay/Release. Use just enough modulation amount until that transient starts popping out
– And a little bit of Resonance to sharpen it and give it a touch of juiceAmp Envelope: Add a little Release for a natural-sounding note-end. Then bring the Sustain down a bit and set the Decay to a medium rate. This will make the post-transient part of the sound a little quieter so it settles into the background like a pad.
Chorus: 50/50 mix and a medium rate to widen the sound and move it around a bit.
In reply to: Patch request: Brass synth
I like this patch. Try this:
Oscillator: Medium pulse wave
Filter: This will require the most tweaking. Low Pass. Set Cutoff around Noon. Just a little bit of Res. Then use a quick Attack and Decay with 0 Sustain, to create the horn shape. But it’s kind of a slower horn. Like around 100-150 ms Attack, and 500-600 Decay. And a modest amount of modulation.
Amp Envelope: Take Sustain down almost to zero, set Decay pretty quick around 800-900 ms. Now you’ll get the main note, followed by that really quiet flutter from the PWM
LFO: Modulate the pulse width, at a fairly fast rate with a decent amount. This will smear the sound a bit to help make it more brassy, and give it that little wobble at the end.
Voice Mode: Poly
If you’re using the Massive Lesson Pack, there is a specific set of presets to recreate instead of the “On Your Own” patches. Do you see a “Massive Lesson Pack” folder of presets in Primer or Syntorial’s standalone synth? These are recreatable in Massive.
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My mistake! I misspoke. You’re right, in Primer, Osc 1 is the Modulator, and Osc 2 is the Carrier. And yes, in Massive, the Modulation Osc is the modulator, and the others are the carriers.
With Ring Mod, the signals are multiplied against each other, and you hear the result. So what matters is the relationship of waveform type and pitch difference. So to match sounds you could either:
Set Primer Osc 1 (Modulator) to Sine, set Osc 2 (Carrier) to Square, and set Osc 2 Semi to 30. Then in Massive, set Osc 1 (Carrier) to Square, and Osc 1 Pitch to 30. HOWEVER, this will give you a high-pitched metallic sound, and you’ll lose the gritty low end from the patch we’re trying to recreate. Soooo…
Set Primer Osc 1 (Modulator) back to square, set Osc 2 (Carrier) to Sine, and keep Osc 2 Semi to 30. Then in Massive, keep Osc 1 (Carrier) as Square, set Osc 1 Pitch to 0, and Modulation Osc Pitch to 30. And you’ll again get a matched sound, but with that low grit. So why do these sounds match, even though the Modulator/Carrier relationships are the opposite between synths?
Because, as mentioned above, with Ring Modulation it’s all about how the waveform type and pitch difference relate. So while the Modulator/Carriers are opposite of each other, what matches is: The Sine wave is 30 semitones above the Square wave. It doesn’t matter which oscillator is labeled “modulator” and which is labeled “carrier”. What matters is the waveform/pitch relationship.
Honestly, using Modulator/Carrier terminology in Ring Modulation is a bit misleading once you start breaking it down internally like this. But this terminology is widely used, so we use it too. I’m tempted to mention this in the course but am worried it will muddy the waters with complication…
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You won’t be able to match that tone exactly, because Massive’s Modulation Osc is set to Sine, whereas Syntorial’s modulator oscillator (Osc 2) can be set to any waveform, and in this case, is set to square.
If you change Syntorial’s Osc 2 to Sine, then you should be able to get a close match in Massive.
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In reply to: “On your own patch 5” vs. vital wavetable synth
I’m glad to hear you figured out the pitch. Your screenshot of Vital also shows you’re using the “Analog: 12dB” filter. Switch to the “Analog: 24dB” filter. Syntorial uses a 24dB slope low pass filter, so using a 12dB filter in Vital will allow some more higher frequencies through in a way that may give an impression of “gritiness”
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In reply to: PATCH REQUEST: ‘Big Mess’ by Devo!
I thought the intro patch might be of interest to others so I created a complete walkthrough with video. Check it out: https://www.syntorial.com/tutorials/crafting-the-devo-big-mess-synth-lead/
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