Forum Replies Created

  • Joe HanleyJoe Hanley
    Keymaster

    This one was trickier than I expected. It’s always challenging when there are layered effects. And this pluck is particularly strong and clear. Really nice sound design. I think this is pretty close.

    How It’s Made

    • Synth: Serum
    • Oscillator: Pulse Wave with thin Pulse Width. 6 Voice Unison, even Blend, mild Detune, 0 Width
    • Filter: Low Pass 24 dB, bright Cutoff at about 5200 kHz, with a decent amount of Resonance to give it a little focus and sharpness.
    • Filter Envelope: Create our bright attack transient, by setting Sustain to 0, and Decay to 275 ms. Mod amount should bring our Cutoff up to its max.
    • Amp Envelope: Further accentuate our attack transient by setting our Sustain a little under halfway, Decay to 221 ms (roughly similar to Filter Env Decay) and Release to the same. Boost Main Volume so that the transient gets louder, and we bring the sustain back up to a normal level. So now having both the Amp and Filter Envelope creating the same quick decay will give us a really prominent attack transient.
    • LFO 1: Create a subtle and quick vibrato. Route it to Osc pitch, with a REALLY small amount. Quick rate at 1/8 (with 140 bpm). Triangle wave.
    • Distortion: I used the HardClip distortion in Serum, but any straightforward distortion will work. Pretty heavy Drive, but stop just short of turning our sound into a square wave. This makes the sound more aggressive
    • Compressor: Squeeze it with Threshold around -30dB, and Ratio at 4:1. Add some makeup gain to bring our volume back up.
    • Filter: We’re going to use Serum’s Phs 24+ filter type to create a focused Phaser effect that we can modulate very slowly, so that the sound becomes rounder at times, and lighter at others, but isn’t being dramatically shaped by a more clear-cut filter like Low Pass or and EQ. Set the Cutoff to 48 Hz, lots of Res to bring out the Phaser. Then modulate the Cutoff with…
    • LFO 2: Modest amount so that it doesn’t get so thin at the top that the sound disappears, nor does it get too dark and muted at the bottom. Triangle Wave, with a loooong 8 Bar rate.
    • Reverb: Plate, with a pretty big size. Lots of Pre Delay so that the strong pluck attack transient doesn’t get washed out by the reverb. Cut off some Lows so it’s not too murky and muddy. Cut off some highs so it’s not really bright. We’re going for a big cavernous reverb that doesn’t take away from our strong pluck. 50% wet.
    • Delay: We’re putting the Delay after the Reverb, because when we do it the other way around, the echos don’t have a strong attack transient. Medium Feedback, 1/4 Rate, Ping Pong style so we bounce back and forth from left to right. 50% Mix. THEN, route the Amp Envelope (or an envelope with identical settings to the Amp Envelope) to Delay Mix and give it negative modulation. Now, when our Amp envelope is up, which is essentially anytime a note is playing, the Delay is silent or quiet. But when we let go of the note, the Delay comes back. This allows us to set a pretty noticeable Delay, without clouding up the actual notes while they’re playing. It’s like applying sidechain compression to the Delay’s Wet signal
    • EQ: Use a Low Cut (High Pass) to remove some lows, getting rid of any boom
    Attachments:

    In reply to: Coheed and Cambria – The Hollow (Pad)

    November 5, 2018 at 11:30 am #21409
    Joe HanleyJoe Hanley
    Keymaster

    Interesting patch. The modulating audio and filter, combined with a little distortion, creates a swelling saturation that comes and goes. It really gives it an extra dimension.

    How It’s Made

    • Synth: Primer
    • Oscillators. Osc 1: Square wave. Osc 2: Square wave, pitched up 12 semitones. Set Mix to 90% Osc 2, so we’re mostly getting that higher pitch, with a little low end brought in from Osc 1.
    • Unison: 2 Voice, full Spread and medium Detune. This is more for creating a really wide sound, not so much for creating pulsation
    • Filter: Low Pass, Cutoff around Noon, with a decent amount of Res. To be modulated by…
    • Filter Envelope: Very small amount, as when we later add the distortion it will add brightness, essentially accentuating the filter movement. Quick-ish attack at 560ms, very long release so that it hangs in a brighter state when we let go of the key
    • Amp Envelope: Attack at 93 ms to give us a subtle swell in, Release at 3150 ms to create a nice long note
    • LFO: This is our wobble. It’s quick and aggressive Tremolo. Route to Volume, Triangle Wave, with a really high Amount, and very quick Rate. Poly Mode so that each new note doesn’t reset the previous note’s wobble. And Trig on, so that each note starts the same
    • Voices: Poly, 2 voices. This way each note will overlap the previous, but will only allow up to 2 overlapping notes, so that it doesn’t get too messy
    • Distortion: we don’t need a ton, as we’re just looking for subtle, tubey break up when the sound is at it’s loudest and two notes overlap
    • Chorus: Blends the whole thing into a washy spread. Medium Rate at about 2 Hz, 50/50 Mix.
    • Delay: we want a fairly noticeable trail of echos to really send the sound off into the distance. About 40% Wet, full Spread for really wide echos, medium feedback so we can hear the trail, and pretty quick Rate/Time.
    • Reverb: Medium Size, 25% Wet. We’re putting it in a fairly big room
    Attachments:

    In reply to: Lil Uzi "Run it UP" 808 and Kick

    November 1, 2018 at 12:22 pm #21325
    Joe HanleyJoe Hanley
    Keymaster

    it sounds out of phase when I combine the saw with the sine but it sounds good when it’s just one waveform.

    Maybe try adjusting one of the oscillator’s start-phase. But I’d like to hear it. If you can post with and without the second oscillator that would be helpful.

    Omnisphere-specific info here: https://support.spectrasonics.net/manual/Omnisphere/edit_page/oscillator/page14.html

    In reply to: Patch Request: DEVO – Deep Sleep

    October 31, 2018 at 12:52 pm #21297
    Joe HanleyJoe Hanley
    Keymaster

    Nice classic-style patches. I used Serum, but you can really use any synth that has two LFOs.

    How It’s Made

    Bubbles

    • Synth: Serum
    • Oscillator: Saw
    • Filter: Band Pass, 24 dB slope, cranked Res, Cutoff in the middle around 500 Hz. To be modulated by…
    • LFO 1: The bubble maker. Routed to Filter Cutoff. Triangle Wave, with a pretty fast rate (I went with 6.7 Hz). Adjust the modulation amount to taste. Turn it up until you start to get that bubbling which is caused by moving this very resonant filter up and down
    • Velocity: also routed to Cutoff. This way lighter notes will have a lower mid-point for the bubbling LFO, creating an overall rounder sound, and vice-versa for the harder notes. In the recording I played the lower pitches lighter and the higher pitches heavier.
    • Amp Envelope: Long Release at 1.75s, so you can just tap the keys and they’ll ring out
    • Voices: Poly, 2 or more. Thanks to the long-ish Amp Release, the notes will overlap a bit as you play
    • LFO 2: Route to Pan. Set the Rate to a long 2 bar, and waveform to Triangle. If your synth allows it, have the LFO synced to the host’s measure position so that it starts on the left side at the beginning of Bar 1, and slowly moves to the far right and back, over a period of 2 bars. You could also control panning with track automation, instead of using the synth

    Swell

    • Synth: Serum
    • Oscillators: Both Oscillators set to Saws. Pitch the 2nd Oscillator up 7 semitones. This creates the two-note “fifths” sound
    • Filter: Lowpass, 24 dB. Heavy Res, Cutoff in the middle around 375 Hz. To be modulated by…
    • Filter Envelope: Really long Attack at 2.84s. Enough Mod amount that it gets pretty bright. Hello Swell!!
    • LFO 1: Create a subtle vibrato by routing this to both Oscillators’ pitch. Pretty quick rate at 6.4 Hz. Very small modulation amount, so you just feel a subtle pitch wobble.
    • LFO 2: Route to Pan to move the sound Left to Right and back. Again, you could use track automation instead. Enable Trigger, so that each new note starts at the left side (since we’re just playing one long note we don’t have to worry about syncing to the measure position). Slow rate at 2 Bars
    Attachments:

    In reply to: Lil Uzi "Run it UP" 808 and Kick

    October 25, 2018 at 12:12 pm #21158
    Joe HanleyJoe Hanley
    Keymaster

    This sound doesn’t require a ton of parameters, but they have to be set just right to get the proper tone and low end. Also, because the bass is kind of bright, and not a typical 808 bass (very round and subby) I think the bass and kick are two separate patches.

    In this recording, you’ll hear bass+kick, then bass, then kick. And you’ll notice the kick doesn’t have a ton of low end. The bass provides so much low end, that if they both have it they’ll clash and mask each other, so we let the bass provide it.

    How It’s Made

    Bass

    • Synth: Primer
    • Oscillators. Osc 1 Saw, Osc 2 Sine, Mix 50/50. The Saw gives us the tone, the Sine gives us the boom
    • Filter: Low Pass, 24dB, with Cutoff pretty far down (0.41). A little boost of Res to push out that low end a bit more.
    • Distortion: A bit of warm tube distortion. This will brighten it a touch, but more importantly give it a warmer, stringy vibe

    Kick

    • Synth: Primer
    • Oscillator: Sine
    • Pitch Envelope: Quick Decay (92 ms), and an amount that will modulate the pitch about an octave. This quick pitch drop creates the percussive kick sound. The higher the modulation amount, the more “click” on the front of the sound, because the pitch starts at a higher note, which creates a brighter beginning. We’re going for a pretty muted attack transient.
    • Amp Envelope: Sustain at 0, Decay/Release at 82 ms. This creates a short note, and cuts it off immediately after the kick-making pitch drop so that it’s only a percussive sound
    • Distortion: Warm tube, medium amount (0.5). Makes it a little more aggressive
    • Noise. Decent amount of white noise. At first, this will sound like a clap, so…
    • Filter: Lowpass, Cutoff around Noon. This will take the brightness out of the Noise, leaving us with a papery texture added into the kick so it’s less perfect, and more sample-like
    • Note: Playing a low F. The pitch matters here, since, if it’s too high, there won’t be enough low end.
    Attachments:

    In reply to: PATCH REQUEST – Synth from "Resonance" by Home

    October 19, 2018 at 2:55 pm #21010
    Joe HanleyJoe Hanley
    Keymaster

    Oh, 6ms.

    Whoops! Thanks for pointing that out. Fixed.

    In reply to: Mick Jenkins – Communicate Patch?

    October 19, 2018 at 1:36 pm #20998

    In reply to: PATCH REQUEST – Synth from "Resonance" by Home

    October 19, 2018 at 12:22 pm #20988
    Joe HanleyJoe Hanley
    Keymaster

    Wow! It was a *lot* more complicated to make than I thought it was…

    I suspect it was made on an actual analog/old-school synth so some of the characteristics may have come naturally.

    In reply to: PATCH REQUEST – Synth from "Resonance" by Home

    October 19, 2018 at 10:07 am #20965
    Joe HanleyJoe Hanley
    Keymaster

    This is as lush as lush gets. Really interesting use of Velocity to modulate Envelope Decay and Release. It’s also interesting to use the Filter, Noise, Chaos, and EQ to create that vintage analog sound. I added the bass patch in as well since it was almost identical and follows the pad rhythm and velocity, essentially becoming part of it.

    How It’s Made

    Pad

    • Synth: Serum
    • Oscillator: Saw Wave. Use Unison to make it washy and lush with 6 voices, kind of strong Detune, even Blend, and 0 Width
    • Noise: White, low level so it’s just layered in. This helps create a vintage vibe, making it less clean. Make sure it’s routed into the filter.
    • Filter: Lowpass with 18dB slope. Cutoff at 370 Hz and a bit of Res (these set us up to use an Envelope to make the wah character). Full Drive for saturated analog warmth, and a bit of Fat to make up for the low end taken away by Res. Reduce the level to make up for Drive’s volume boost
    • Amp Envelope: About 6 ms of Attack to soften the transient just a bit. Sustain at 0, and both Decay and Release at 2 seconds so we have nice long notes.
    • Voices: Poly, 4 voices. The chords are mostly 4 notes each, so this way each chord will cut off the notes of the previous chord so we don’t get layered and dissonant notes
    • Filter Envelope: Route Env 2 to Filter Cutoff. Attack at 53 ms, Sustain at 0, and Decay and Release at 0.5 ms. Modest Amount (about 20). This will create a really tight wah. Too tight in fact, but that is because…
    • Velocity: Route Velocity to Env 2 Decay and Release, and max out both of there amounts. Now, lightly pressed notes will give us a quick and closing wah, and hard-pressed notes will create a big bright sound, that still wahs up, but doesn’t wah back down (at least not for a long time). This is why the pad is sometimes bright, and sometimes closed. But no matter what, you still get that fat horn-ish attack since the attack time is always the same.
    • Chaos: Route Chaos 1 (Sample & Hold LFO on any synth will have a similar effect) to Master Tune, and set a VERY small amount. I set the Amount slider in the Matrix to 1, and dial back the Output slider to 25. Just a mild out-of-tune sound that really starts to bring in the vintage vibe
    • Note: Make sure the following effects are in the order of this list.
    • Delay: Pretty heavy mix at 40%, pretty long Feedback so it echos for a while. Rate at 1/16th (bpm is 83). To make it Stereo, set the Right offset to 1.050. I love how the Velocity-controlled envelope interacts with the Delay. Light notes that have a tight closing wah, create a very audible echo, but the more open and washy notes generated by hard presses, cover up the echo a bit. So the Delay comes and goes depending on how hard you hit the keys
    • Reverb: Plate. Medium-Small size (17%), No Pre-Delay so our sound really sits in the reverb. Fairly heavy mix at 34%. Default settings of a little High Cut, a little Damping, and a little Width are perfect.
    • EQ: Set the first band to Peak, with Freq 2400 Hz, Sharp Q at 50%, and a big boost of Gain at 13 dB. Set the second band to LPF with Freq 5000 Hz and Q at 40%. This really brings home the vintage vibe, losing some high end and bringing out this sort-of radio-esque mid-highs
    • Compressor: Squeeze it. Set Threshold to -30 dB, Gain to 4 dB.

    Bass

    • Same exact settings as pad, except lower the Filter Env Amount to about 10. This way the bass doesn’t get as bright and focuses more on the low end. Also set the voice count to 2, as each notes is played in octaves.

    Pad Notes (From bottom to top for each chord)

    • C Eb F Ab (3 times)
    • C Eb G
    • C Eb G Bb
    • Eb G Bb C (6 times)
    • F Ab C Eb (3 times)
    • Bb Db F Ab (2 times)
    • Ab C Eb G (6 times)

    Bass Notes

    • Each of the following notes are played in octaves. So the first notes is F, but you’re going to play 2 adjacent Fs in the low range
    • F (3x), Ab (2x), C (6x), F (3x), Bb (2x), Ab (6x)
    Attachments:

    In reply to: PATCH REQUEST: Sweet Dreams Are Made of This – Eurythmics

    October 15, 2018 at 9:25 am #20877
    Joe HanleyJoe Hanley
    Keymaster

    Also, I’ll be trying to keep up with the weekly patches on here as it’ll be nice to establish reverse engineering into a weekly routine.

    Please do! This was a solid attempt and the more people we have recreating patches on this forum the more we can all learn.

    In reply to: PATCH REQUEST: Sweet Dreams Are Made of This – Eurythmics

    October 12, 2018 at 2:46 pm #20818
    Joe HanleyJoe Hanley
    Keymaster

    Actually, although I wanted to get close to the authentic sound, I still wanted it to feel a bit more modern.

    Mission accomplished. I like this modernization. These patches feel more updated, but it’s still obvious that it’s Sweet Dreams. Nice work!

    In reply to: WHAT IS THIS FORUM FOR?

    October 12, 2018 at 2:40 pm #20814
    Joe HanleyJoe Hanley
    Keymaster

    How can I submit a patch request?

    Hi Iancu. Welcome to the forum! Start a new topic by going to the main forum page, and scrolling down to the bottom. Then just follow the instructions at the top of this post.

    In reply to: Patch(?) Request: robot dinosaur hydraulics

    October 12, 2018 at 9:55 am #20785
    Joe HanleyJoe Hanley
    Keymaster

    Two patches: Laser and Robocop. Laser is pretty straightforward. Robocop is a mash of FM, Noise and Distortion.

    How It’s Made
    Laser

    • Synth: Primer
    • Oscillator: Saw
    • Filter: Low Pass with Cutoff at Max, and pretty heavy res to bring out the very top sizzle
    • Distortion: Make it angry with a medium amount of Distortion, but not so much that it starts to sound like a square wave
    • Pitch Envelope: This will sweep the pitch up, giving us the laser effect. Attack at 1500 ms, and an amount that will bring it up about 2 semitones. I’m playing a high Eb (Eb 5)

    Robocop

    • Synth: Massive
    • Noise: White noise, with full Color (brightness). Turn up the volume to about 2:00. This is going to be the main body of our sound
    • Oscillator: I left Osc 1 at its default Square-Saw hybrid, but a straight Saw would probably work as well since we’re going to decimate this with FM
    • FM: In Massive it’s called Phase Modulation, but they’re almost the same and result in a similar sound. Apply Phase modulation to Osc 1. Set the Modulation Osc amount to Max, and bring its pitch down to -28. Playing a low C (C2). Lowering the Phase Modulation pitch is a great way to create this angry rolling robotic sound
    • Filter 1: Set Osc 1 and Noise fully to Filter 1 so they’re both 100% running through it. Set filter type to Bandpass, Cutoff at 1:00, Bandwidth at 0, and heavy Res (at about 1:30). This gives us a narrow, pointed bandpass. Then…
    • Filter Envelope: Route an envelope to Filter 1 Cutoff. Set Sustain (Decay Level) to 0, and Decay to about 11:30. Turn up Mod amount to the top of the Cutoff. Now we get that sweeping “eeow” and as it approaches the bottom, it really starts to gurgle
    • Filter 2: Set Filter Routing to full Serial so that 100% of Filter 1 runs into Filter 2. Set to Highpass 2, and turn up the Cutoff a bit (to about 10:00). This will take a bit of bottom end off and make the whole thing sharper.
    • Distortion 1: Set the first Insert to Sine Shaper, with full Drive, and full Wet. Getting angry…
    • Distortion 2: Set FX1 to Classic Tube, Drive to Noon, and full Wet. Now we’re an angry robot.

    There may be reverb on these sounds but it’s hard to hear in the live setting.

    Attachments:

    In reply to: Patch Request – Mario Kart 8 Synth Lead

    October 12, 2018 at 8:48 am #20781
    Joe HanleyJoe Hanley
    Keymaster

    Here’s my attempt:

    Nailed it.

    In reply to: PATCH CHALLENGE: Hard Hitting Grinding Bass

    October 10, 2018 at 12:43 pm #20737
    Joe HanleyJoe Hanley
    Keymaster

    I’ve started thinking it might be a percussive sample that’s looped incredibly fast, creating that grinding sound. Maybe that layered with a synth might do it.