Anonymous
Forum Replies Created
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In reply to: Patch Request: Distorted Bass sound
This one’s tricky. Sounds like two layers. Try this:
Layer 1: Big bottom low end
Oscillator: Square
Filter: LowPass, 24 dB, Cutoff a little above Noon. Route Filter Envelope to the cutoff with a quick decay and a just a little amount, to give it a very subtle pluck attack.
Amp Envelope: Medium release
Voices: Mono
Layer 2: Top bitcrushed noise (I used Massive for this)
Oscillators: Saw Wave, and White Noise. Apply Unison to both oscillators, with a lot of voices, mild detune, and a wide spread.
Bitcrusher: Crank it, and put it before the Filter if possible (Massive lets you do this in the Routing tab)
Filter: Bandpass, pretty narrow, so medium to high resonance. Very high Cutoff.
LFO: Modulate filter Cutoff with a saw wave, 1/8th rate. Small amount. You want the sound to be a very small hiss on the very top, that the LFO brings down just a little bit on each saw cycle.
Amp Envelope: Medium release
Voices: Mono
In reply to: Patch Request: Synth Vocals
In reply to: Divine Pads
I haven’t yet nailed this one, and I’ve had to make some sacrifices due to note stealing, but my first attempt has still been a lot of fun. The result so far has a darker character, but it’s still a lush pad that I like. Here is the patch for the Access Virus if anyone is interested.
Sounds great. Very lush indeed. I’m loving the phaser.
In reply to: Divine Pads
Layers. This thing has a ton of everything, which allows for lots of layers. For example, the first patch “In Heaven” seems to built with something like this:
Layer 1
Oscillator: Two oscillators, both saw waves, both unison (4-5 voices voices) mildly detuned so that it doesn’t wobble but smears nicely. Pitch the 2nd oscillator up one octave.
Filter: Lowpass. 24 dB, with a bit of res. Bring the cutoff down to chop off the top edge and give it a little roundness, but still be bright.
Amp Envelope: Medium release to give it a tail
Layer 2
Oscillator: Noise. Simple white noise.
Filter: Sent through a different filter, also 24 dB, with hefty amount of Res.
Mod Wheel: Route to the filter cutoff
Amp Envelope: same as Layer 1
Layer 3
Oscillator: Big saw unison, at least 7 voices, with a pretty strong detune to make it aggressive
Filter: I hear two filters here. Start with a formant filter to give it a vocal-esque quality. Then go through a Lowpass with similar settings as Noise.
Mod Wheel: Also modulating this filter cutoff.
Amp envelope: same as other layers
And then run everything through a chorus to give it a softer texture.
In reply to: Patch Request – Aston Martin Music
God bless you man! I really mean it, it was taking me forever to try and get close to each of these sounds on my own and even then I was a long way off! How long did it take you to figure each out?
Bass and pad took a few minutes. The bell piano was more complex and required some experimentation with the FM settings, so maybe 10 minutes.
On a side note you mention the voices in “Unison:” to be 2, and at the end you say Voices = 4? What do you mean by that?
Unison is when you duplicate an oscillator and detune the duplicates away from each other in order to create a smearing and pulsating effect. You can choose the number of duplicates (in this case 2). In Primer there’s an actual Unison setting. In many synths, instead of having a Unison section, there will be a Voices/Detune setting in each Oscillator.
Voices = 4 refers to the overall number of synth voices, i.e. how many notes you can play at once. It’s usually found near the Voice Mode (Mono, Poly)
In reply to: Patch Challenge: FM Bass
So I built a touch control panel concept prototype
What a great idea! You’ve un-menu’d a menu’d synth. I honestly feel that the DX7 would not be considered so hard to program with something like this. Awesome.
In reply to: Patch Challenge: FM Bass
Here’s a bit of DX7IID bass that I’ve been having fun working on.
That’s a nice balance of low end and unison-y drone. Still has a solid bass feel while also providing interesting movement. Very nice.
What is that board/controller you’re using to tweak the DX7’s parameters?
In reply to: Patch Request – Aston Martin Music
The Bell Piano is the trickiest. Try this:
Oscillator: FM between two sine waves. Raise the carrier (the oscillator on the receiving end of the FM modulation) Semi to 12 (1 octave). Dial in a small amount of FM. This way we get mostly a round sine wave for the body of the sound, with a layer of bright belly FM on top.
Amp Envelope: Set Attack to 0, so that you hear a little “pop” at the beginning of the sound. Long Release
Unison: 2 voices, wide Spread, mild Detune. And set it so the voices Phase starts over with every note, and then quantize the chord notes so that they start at the exact same time. This will make that starting “pop” really prominent.
Chorus: Wide, 50% mix, Medium Rate. This will soften and spread the sound a bit more
Reverb: big Size, About 30% Mix
Voices: Poly, 4 voices.
Bass
Oscillator: Saw
Filter: Low Pass, 24 dB, turn the Cutoff way down, and crank the Drive. You’ll have to play around with the Cutoff and Drive a bit, but essentially you’re going for a really round, saturated bass
Pad
Oscillator: Saw
Unison: 4 voices, medium-wide Spread, Detune strong enough to make it kind-of wobbly
Filter: Low Pass, 24 dB. Turn the Cutoff pretty far down, and turn up the Res quite a bit. We’re looking for a nice round sound, but the Res will shape it by pushing it out in the low-mids a bit.
In reply to: Patch Challenge: FM Bass
You’ll have to excuse the “echo” or “delay” from the internal mic. I’ll do a better video:
Aaaah Top Gun. The Chorus really 80s-fied it. Sounds nice. I didn’t realize Omnisphere had an FM component to it, but apparently it has a dedicated FM oscillator in each layer: https://support.spectrasonics.net/manual/Omnisphere2/25/en/topic/layer-page-oscillator-page15
In reply to: Patch Challenge: FM Bass
For this sound I’ve used a replica of the Yamaha DX7, named the PX7.
Very nice! I love that second gritty layer. Is the grit coming mostly from the feedback?
In reply to: Patch Request: Hard Piano Pad
Try this:
Oscillator: Saw.
Filter: Low Pass, 24 dB. Cutoff around the middle. Decent amount of Res to lighten up the bottom end and push out some mids. Key tracking enabled so that the lower bass pitch isn’t brighter than the upper chord pitches.
Chorus: this will do most of the work. Go full mix to get a nice wide sound. Set the Rate pretty slow (I liked it around 0.15 Hz). And set the depth so that it’s wobbling a bit, but not over the top.
The pad starts with what sounds like 3 notes: A low F#, another F# one octave above that, and an A on top of that.
Sounds like a synth. Try:
Oscillator: Saw
Filter: Low Pass, Cutoff a little above the mid-point, lots of Res, and some Key Tracking to make the higher notes a little brighter than the lower notes
Unison: 2 voice, strong detune to make it wobble a bit
Chorus: 50% mix, medium Rate, to spread it out and and make it a bit washy
Delay: Go for a slapback effect by setting Mix around 50%, the Time to around 1/16th, and the Feedback pretty low so that you only get one or two delays
As for the notes, the pattern is made up of 4 different notes: Two of them are Fs that are one octave apart, and in between an Ab and Bb. And it starts with:
HighF LowF LowF Bb [rest] Ab
In reply to: Patch Challenge: FM Bass
I’ll try to post a video later – I tried to do a tutorial but QuickTime wouldn’t let me play through omnisphere while I screen recorded.
Would love to hear it. Try installing Soundflower: https://github.com/mattingalls/Soundflower/releases/tag/2.0b2. Then set Logic’s output to Soundflower, and Quicktime’s audio input to Soundflower.
Hi Zane
It sounds like you’re referring to velocity modulation, which modulates various destinations (most commonly, volume) according to how hard you hit a key. So if you’re playing a 3 note chord, each finger wouldn’t likely play each note with the exact same impact, so some would be softer than others. And in Ableton (and any other DAW) you an also go into the piano roll and manually set the velocity of each individual note to further dial in variance between voices.
In Serum, it’s the “VELO” section underneath the filter. Drag that to the Oscillator Level knob (or any other destination for that matter)
In reply to: Clarification on Filter Envelope and Cutoff relation
Hi Dylan
Yes. The attack stage would take the cutoff down to a darker point determined by the negative filter envelope amount, and the release would bring it back up to the cutoff. The sustain level would range from the cutoff knob setting (when set to 0), to the darkest point (when set to Max) as determined by the negative filter envelope amount.
