[Mark Luljak]

It doesn’t actually sound like a bell to me. Not enough ring, even filtered, and the attack sounds wrong. Sounds more like a flute.

Regardless of the basic nature of the patch, there are three things you’d need to do:

1) Create the basic sound.

2) Put EQ on it (notably LPF/HCF, although you may need to season to taste.

3) Put a (probably modulated, so it doesn’t get annoyingly repetitive, so I’d use an LFO) pitch modulation on it. Make that modulation bipolar, and center it evenly around the target of no pitch change. For example, +50/-50 cents. If you need to get even more irregular, you could use a noise waveform for the LFO, if your LFO supports it. Barring that, modulate the LFO with another LFO. Usually once you get two or three LFOs modulating each other, it feels largely random.

[Mark Luljak]

Jorge Velez wrote:

evolving

I like it. Then again, I’m a sucker for flangers. For something like this, it feels like cheating, but I used mine to bolster an effect which was already going on, so I can’t knock you for using it because I used it. 😉 The base of the patch sounded to me like a dry violin on a close mic. Interesting, although I prefer this one in a chord rather than solo.

I’ve noticed over the years that there are three ways a patch can go. It can be so thick and wide-spectrum that it doesn’t leave room in the mix for much of anything else, it can be thin enough that it fits anywhere, or it can take the middle ground and fit in a gap. This one would seem to be in the third category. Especially with a flanging effect in play, it gets to fill multiple gaps. This kind is perfect for layering, speficially because of that kind of glue effect.

[Mark Luljak]

Joe Hanley wrote:

Mark Luljak wrote:

I’ll try.

I really like that second phasey mouthy layer, especially how its wobble varies each time it comes in.

Thanks! The idea of using the noise generator for something non-white/pink was shamelessly cribbed from the tutorial video. The modulation…one of those things I do in some synths is modulate a modulator directly. In Serum, you can’t actually drag/drop a modulator onto the rate knob of an LFO, as it won’t activate the pane on hover, but you can do it directly via the matrix.

The extra flanger in FX didn’t hurt. It accentuates it a bit.

[Mark Luljak]

I’ll try. Just spent the last hour doing this one. I’m not 100% set on leaving the sub solid, but I actually like that, because behind all the shimmering and modulation, it also gives it a solid stability. It probably shouldn’t have taken an hour, but 1) I’m rusty, and 2) I didn’t want to put out just any old rubbish. 😉

I recorded four sets of two alternating notes and/or chords. First a chord, then just root notes an octave lower, root notes another octave lower, and then chords on top of bass root notes. You can play it here (5.1MB > 2.93MB limit):

https://www.dropbox.com/s/1nufvduyn7fvfvb/FLT%20Evolving%20Pad%20PatchFriday_020119%20-%200007%20-%20Instrument%20-%20Serum_x64%2002.mp3?dl=0

I’m attaching the Serum patch as well.

(This forum does not seem to be making the .rar with the patch available, no matter what I do. Not sure why. Link to DropBox copy follows.)

https://www.dropbox.com/s/cr9ejwqj7crj7dk/FLT%20Evolving%20Pad%20PatchFriday_020119.rar?dl=0