Making the Serum synth say “Serum”

Let’s explore how to import an audio file into the Serum synth to create a wavetable that says “Serum”. This is not about creating a simple sampler; rather, Serum analyzes the audio to capture the essence of the sound through a process that breaks it up into subtables. This method provides a unique way to generate distinctive waveforms and wavetables from audio inputs.

Importing Audio and Adjusting Subtables

The process begins by importing an audio file where I clearly pronounce the word “Serum”. Serum then breaks this file into 256 subtables. Now, it’s possible to hear the word “Serum” within the wavetable, though it may sound distorted so we’ll need to smooth it out to enhance clarity.

Selecting the Optimal Number of Subtables

During the import process you can compare different Fast Fourier Transform (FFT) import sizes, such as 256 and 512. This will affect how smoothly the word “Serum” appears as you modulate through the wavetable. For this, we found 256 gave us our best initial sound.

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Editing and Refining the Wavetable

Next we remove unnecessary parts, such as silence at the beginning and redundant subtables at the end. This process is crucial for focusing the wavetable on the essential sounds. After trimming, we then remove 3/4 of the subtables. Initially this creates a jarring jump between subtable sounds. But it also sets us up for spectral morphing, which will smoothly interploate between each subtable, resulting in a crystal clear and smooth “Serum”.

Conclusion

Through meticulous editing and strategic use of the Serum synth’s powerful synthesis features, users can transform a simple spoken word into a complex and usable wavetable.

Crafting the Supersaw EDM Dance Synth Lead: A Step-by-Step Guide

In the realm of electronic music, the epic EMD Dance lead is an iconic sound that stands out for its richness and fullness. The key to this sound is the supersaw, which might seem complex, but with a straightforward approach, anyone can achieve this powerful sound. Here’s a simplified guide using Reveal Sound’s Spire.

Unison: The Foundation

The essence of the sound’s big washiness lies in its unison. More voices equate to a richer, more enveloping sound. By maxing Spire’s Unison Density, our sound officially becomes a supersaw that fills the audio spectrum with its aggressive, bright presence.

Adding Oscillators

The next step involves bringing in two additional oscillators, set to the same settings as the original. The magic happens when these are slightly detuned from each other. This detuning is crucial as it introduces a lush, phasey quality to the sound, and makes are sound even more lush and aggressive.

Filtering and Bite

To sculpt the sound further, a basic high pass filter is applied. This helps in cutting out the low frequencies, ensuring the overall sound doesn’t muddy the mix. Then, to add bite and definition, the sustain level is reduced. This adjustment allows the attack of the sound to be more pronounced, making it stand out in a mix.

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Volume and Distortion

Often, the process of shaping the sound can lead to a loss in overall volume. To compensate, the volume is increased. Following this, a bit of distortion is introduced, clipping the sound slightly. This is not just about making it louder but adding character and warmth to it through subtle drive and distortion.

Compression and Reverb

To ensure the sound is really punchy, compression is applied. Compression is usually used to control dynamics, but in this scenario it’s more about squeezing the tone. After compression, reverb is added to give the sound space and depth. However, it’s essential to dampen the reverb to prevent it from overwhelming the mix, ensuring the sound remains clear and focused.

Conclusion

Creating an epic supersaw-style EDM dance lead is about more than just stacking sounds; it’s about carefully shaping and controlling those sounds to achieve a desired emotional impact. Through the use of additional oscillators, strategic filtering, volume adjustment, distortion, compression, and reverb, a simple waveform can be transformed into a powerful musical expression. This step-by-step approach demystifies the process, making it accessible for producers at all levels to add the iconic supersaw to their sonic toolbox.

The Magic Behind the Taco Bell Sound: A Deep Dive

In the fascinating world of sound design, creating the signature bell-like Taco Bell sound involves a mix of technique, creativity, and a bit of experimentation. This guide breaks down the process into manageable steps, using a combination of sine waves, FM synthesis, and effects to achieve a captivating bell sound.

Starting Point: The Plain Saw

The journey to crafting any sound is a simple saw wave.

Shape: The Tail

Next, we add a tail. This involves extending release stages of our amp envelope, providing a lingering resonance that mimics the natural decay of a bell after being struck.

The Magic of FM Synthesis

FM synthesis is key to achieving the bell’s metallic and harmonic character. By modulating the frequency of one oscillator with another, we can create the complex overtones characteristic of a bell’s tone.

Fine-Tuning Oscillators to nail the Taco Bell sound timbre

Changing both oscillators to a sine wave purifies our sound, providing a cleaner base for the FM synthesis. This step is crucial for getting that clear, bell-like quality.

Dialing in the FM Amount and Pitch

By increasing the FM amount and adjusting the pitch of oscillator 2, we refine the bell tone’s timbre and pitch, bringing it closer to the Taco Bell sound.

Sculpting the Transient

The attack transient is what gives the bell sound its initial strike impression. Adjusting the amp envelope’s attack, sustain, and decay shapes the sound’s onset and fading, mimicking the striking and damping of a real bell.

Volume Adjustments

If the overall volume is too low, a simple adjustment can ensure your bell tone cuts through the mix, maintaining its presence.

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Using Pitch Wobble to capture the realism of the Taco Bell sound

A slow LFO applied to the pitch introduces a subtle wobble at the end of the sound, adding a realistic but subtle out-of-tune feel to the synthetic bell.

The Finishing Touch: Big Reverb

Lastly, a generous application of reverb envelops the bell tone in a spacious ambiance, simulating the natural acoustic reflections of a bell in a large space.

Conclusion

Creating a bell sound, especially one as iconic as the Taco Bell sound from scratch is a rewarding process that blends technical skill with creative expression. By following these steps and adjusting parameters to taste, sound designers can craft unique bell tones suitable for a variety of musical projects and soundscapes. Whether you’re designing sounds for a track, a game, or just for fun, these techniques offer a solid foundation for exploring the limitless possibilities of sound design.

Making the Iconic Parliament Funkadelic Flashlight Bass on Any Synth

The unmistakable sound of the Parliament Funkadelic Flashlight bass is a milestone in funk music, largely due to Bernie Worrell’s ingenious use of the Moog synthesizer. This blog post delves into how to replicate that fat analog sound characteristic of “Flashlight,” regardless of whether you have a Moog or not.

The Essence of “Flashlight” on the Moog

Bernie Worrell’s mastery in crafting the “Flashlight” sound on the Moog synthesizer serves as our foundation. Here’s how to start:

Initial Setup with the Moog
  1. Waveform Selection: Begin with a plain saw waveform.
  2. Oscillator Configuration: Modify the first oscillator by dropping it down an octave and switching its waveform from saw to square. The Moog’s square wave isn’t perfectly square, contributing to a unique pulse sound that’s slightly brighter.
  3. Adding Depth with a Second Oscillator: Introduce a second oscillator, tuned an octave higher than the first and slightly detuned to create subtle movement and depth in the sound.
  4. Filter Adjustments: Utilize the low-pass filter to cut off higher frequencies and adjust the resonance to sharpen the sound. Enhance the analog warmth by driving the filter through Moog’s distinctive feedback system.
  5. Vibrato for Expression: Incorporate vibrato via the mod wheel, using either the original complex method with the third oscillator or a simpler modern LFO system for dynamic playability.
Emulating “Flashlight” on Modern Synths

If you’re working without a Moog, you can still get close to the Parliament Funkadelic Flashlight bass sound by focusing on certain features in your synth.

Using Serum for Analog Emulation
  1. Analog-Style Waveforms: Select analog-emulating waveforms, such as Serum’s MG wavetable, to mimic the imperfect shapes of analog synth waveforms.
  2. Filter Emulation: Employ a Moog-style filter (also known as Ladder filter), indicated by Serum’s MG label, and use the drive function to simulate the Moog’s external feedback system, crucial for that rich, warm sound.

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Adaptations Without Analog Features

For synths lacking specific analog-style features:

  1. Basic Waveform Adjustments: Opt for a square wave but tweak the pulse width to make it slightly narrower to achieve a sound similar to Moog’s square wave. Ensure your low-pass filter has a steep cutoff (24 dB).
  2. Creating Drive Without the Drive Knob: If your synth doesn’t have a drive function, lower the volume of the higher oscillator for a softer sound and boost the low end with an EQ around 200Hz to mimic the warmth of Moog’s filter drive.
Conclusion: Bridging the Gap to “Flashlight”

Recreating the “Flashlight” sound is about understanding the synthesis techniques Bernie Worrell used and adapting those principles to your equipment. Whether you’re using a Moog, a synth like Serum, or a more basic model, focusing on waveform selection, oscillator configuration and filter manipulation will get you close to that legendary P-Funk sound. This exploration into synthesizer settings not only pays homage to “Flashlight” but also encourages creativity and experimentation in music production. The unmistakable sound of the Parliament Funkadelic Flashlight bass is a truly fantastic sound worth recreating.

Making the Daft Punk Derezzed Synth Lead

Creating an aggressive and textured synth lead like the Daft Punk Derezzed patch, involves layering multiple parameters together. This guide will walk you through the process of building a complex synth sound from the ground up. By starting with a basic waveform and methodically tweaking one parameter at a time, you can create a sound that’s both unique and dynamic.

Starting with the Basics: The Saw Wave

The journey begins with a simple saw wave. This waveform provides a bright, full-bodied foundation upon which we can build.

Adding Layers: Octave Adjustments

To add dimension, we introduce a second saw wave, this time one octave higher. This enhances the harmonic content by bringing in a bright upper-register tone. Second, add in a Sub Oscillator with a pulse wave one octave lower than the original saw wave to get that guttural low-end buzz.

Shaping the Sound: Filter and Distortion

The most noticeable trait in the Daft Punk Derezzed patch is the aggressive distortion. But before we introduce angry grit with distortion, it’s crucial to shape our sound using a Low Pass Filter. Lowering the cutoff prepares the sound for distortion by giving it a round sound as a palette. Distortion then reshapes this round sound with a warm edge. Then add Resonance to sharpen the sound, and emphasize certain frequencies. Finally, use Key Tracking to brighten only the higher notes.

Dirty White Noise

Further, enhance the dirtiness of this patch with white noise. This also introduces a raw, textured layer, contributing to the complexity of the sound.

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Expanding the Soundstage: Unison and Phaser

Unison widens the sound, creating a sense of space and fullness. By spreading the sound and reducing the detune, we avoid unwanted wobble, ensuring a clean, expansive effect. Incorporating a phaser adds movement and a touch of psychedelia, but we flatten it out to keep the effect subtle.

Fine-Tuning: Delay and Legato Mode

A tight, fast delay simulates a small, clean room, adding a sense of environment without overwhelming reverb. By minimizing feedback, we achieve a singular, precise delay. Activating legato mode ensures smooth transitions between notes making for a less choppy-sounding melody.

Conclusion

Through strategic layering, shaping, and effect application, a basic saw wave can be transformed into a complex, textured Daft Punk Derezzed synth sound. Each step, from octave adjustments to the incorporation of effects like unison, phaser, and delay, contributes to creating a dynamic, rich sound. By experimenting with these techniques, you can craft unique sounds that elevate your music production.

Making James Blake’s “Retrograde” Synth Lead

Introduction

James Blake’s “Retrograde” is renowned for its haunting and ethereal synth lead. This article will guide you through the process of recreating this iconic sound, providing a step-by-step approach to achieve that mesmerizing effect.

Understanding the Sound

Before diving into the creation process, it’s essential to understand what makes the “Retrograde” synth lead unique. It involves an extreme and slow bending of multiple pitches at once to create an intentionally out-of-tune sound that eventually resolves into one still-kind-of-out-of-tune sound. This intentional dissonance creates an intense tension that adds to the song’s emotional depth.

Required Synth

To recreate this sound, you’ll need a synthesizer with three oscillators, and the ability to route an envelope to those oscillators’ pitch. The envelope will also need to allow for both positive and negative modulation. Vital is a great choice. Additionally, a basic understanding of synthesis is beneficial.

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Creating the Patch
  1. Oscillator Settings: Enable three oscillators, all with saw waves.
  2. Filter: 24 dB Low Pass Filter. Bring the Cutoff down a little, just enough to take a bit of bright edge off the top.
  3. Pitch Envelope: Modulate the first Oscillator’s pitch with an envelope. Set the Envelope’s Sustain to 0 so that the pitch jumps up and decays back down to the pitch you played. Adjust the modulation amount so that it jumps just the right amount. Make the Decay very slow, around 5 seconds. And if your synth allows it, give the Decay a pretty steep curve so that its descent moves faster at first and then really slows down as it approaches the Sustain.
    • Repeat the same thing for Oscillator 2 and 3 with one difference: use negative modulation so that the pitch jumps down and decays upward. For Oscillator 2 use just a small level of modulation amount. And for Oscillator 3, use more.
  4. Smear and Pulsate: Tune Oscillator 1 up 10 cents, and Oscillator 3 down 10 cents. This will create a smearing, kind-of detuned sound as the pitches approach the Envelope’s sustain level.
  5. Filter Envelope: Modulate the Filter Cutoff using the same pitch-routed envelope above (or an additional envelope with the same ADSR settings) and give it a healthy amount of negative modulation. This will start the sound dark and get brighter over time.
  6. Amp Envelope: Lastly, swell in the sound by adding about 1 second’s worth of Attack.
Conclusion

Recreating the synth lead from James Blake’s “Retrograde” is a rewarding exercise for any synth enthusiast. It’s not just about replicating a sound but also about understanding the elements that make a sonic signature unique. With patience and experimentation, you can not only recreate this iconic sound but also apply these techniques to develop your unique patches.

Recreating the Synth Sound from “Wonderful Christmastime” by Paul McCartney

In this blog, we’ll explore the steps to recreate the iconic synthesizer sound from Paul McCartney’s holiday classic, “Wonderful Christmastime.” This guide is perfect for musicians and synth enthusiasts who want to capture the essence of this festive tune.

Starting with the Saw Waveform

The journey begins with a simple saw waveform, a universal starting point for any patch.

Increasing Polyphony

Next, we switch the synthesizer to Poly mode. This allows us to play Paul’s chords, adding depth and complexity to the sound.

Changing the Waveform to Medium Pulse

To mimic the distinctive timbre of the song, we change the waveform to a pulse wave with medium pulse width. This is kind of similar to a saw waveform, but with a slightly more hollow and artificial sound, in a good way!

Adjusting the Amp Release

Make the Amp Envelope’s release a little longer. This tweak allows the notes to fade out more naturally, instead of abruptly cutting off. This gives the sound playable feel, much like you get from a traditional keyboard instrument like a piano.

Creating the “Meow” Sound

The signature “meow” shape is achieved using the filter envelope. This involves setting the cutoff to the desired endpoint, adjusting the envelope amount for the starting point, lowering the sustain so that the decay moves the cutoff down, and then shortening the decay and release parameters. The goal is to have a quick, sweeping effect. To make the sound “juicy,” we increase the resonance. This “squeezes” the filter and creates that “meow” shape.

Implementing Key Tracking

Key tracking is used to make the lower notes darker and the higher notes brighter. While you could use this sound without it, key tracking gets us closer to an exact match.

Incorporating Pulse Width Modulation

Pulse width modulation (PWM) is added to introduce movement into the sound, giving it a subtle “smear” effect. This is a subtle step that removes stiffness and adds a little life.

Softening the Attack

Slightly increasing the amplifier’s attack time softens the onset of each note, reducing the percussive element and creating an almost “compressed-like” sound.

Adding Delay

The finishing touch is the addition of delay. This effect is prominent in the original track, echoing each chord we play. Set the rate to 1/8 so that we hear an echo between each chord during the chorus.

Conclusion

By following these steps, you can recreate the unique synth sound from Paul McCartney’s “Wonderful Christmastime.” Each step in this process contributes to capturing the essence of this festive classic, allowing you to add a touch of holiday spirit to your own music creations. Whether you’re a fan of the song or a synth enthusiast, these techniques offer a fun way to engage with one of the most recognizable holiday tunes.

Synth Quickie: What is a Plugin?

Buckle up, newcomers!
This video is a short and sweet introduction to the wonderful world of plugins. What they are, how they work, and most importantly, what you can do with them. Intrigued? click the video, but only if you’re buckled up… I did warn you.

VIDEO TRANSCRIPT

Plugins. What are they? If you are new to making music in a computer, you have definitely come across the term plugin. I’m gonna tell you what they are, how they work, why you should care. So first let’s start with this synth application. This is a regular, standalone app, this is not a plugin. It’s Syntorial. You download it, you install it, you open it, and here’s your synth.

Now the only problem with a standalone synth like this is you can’t record it into your recording app, right? Like you’re using Ableton or Logic or one of the many applications out there, also known as DAWs, that you use to make music. And I wanna use this synth, along with other sounds, but I can’t here in this synth application.

That’s what plugins are for. A plugin is just like an application except it’s designed to be opened inside of a recording app, so you can use it to make music alongside other plugins.

So, let’s hop over to Logic. So I have installed the plugin version of Syntorial synth, it’s called Primer. And I did it the same way, I just downloaded it, and I installed it, that’s how you install all plugins. However, once it’s installed, you won’t see it in your applications or program files folder, you can’t just open it directly, it’s only designed to be opened and used inside a recording app.

And each recording app does it a bit differently as far as the layout is concerned, but for example, here in Logic, my default track is electric piano. But I wanna open Primer in here. So in their case, go into this menu. Go to AU Instruments, I’ll explain what AU means. And Audible Genius is the name of our company. And there’s Primer. And now, it’s the same synth from the standalone version, the same controls, same exact sound, but now it’s inside Logic, so I can record it into Logic and play it back. And there you go, and I can make another track, and I can open up a different plugin and I can do drums, and bass, and whatever I want. That’s why plugins are such a huge part of computer music, is they are the sounds, they are the instruments.

As you can see, I’ve got a lot going on here. So whenever you install one, it just gets added to your DAW’s list. Now, this is a synth. There of course are also samplers like for drums or real instruments like piano. And then you can also use effects. So let’s say I wanna add some reverb, but I don’t wanna use Primer’s built-in reverb.

Well I can grab a reverb plugin, let’s grab this first one. So now, my Primer plugin is being routed through this Chroma Reverb. So you can see, you have an endless variety here. There’s so many plugins and you can just kinda chain them all together and create whatever sounds you want. Now, you’ve probably come across different plugin formats, like VST, AU, and maybe even AAX.

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Now, you’ve probably come across different plugin formats, like VST, AU, and maybe even AAX. These are simply just file types. The Primer, for example, comes as a VST and AU. The synth itself is identical. You won’t get a different sound, different controls. It’s all exactly the same. Where this matters is with your host, whether it’s Logic, Ableton, FL Studio, whatever your recording app is, you need to check what file types it allows.

So, for example, VST is the most common. Almost all recording apps allow you to use VST plugins inside of them. So much so that the term VST is often used instead of the term plugin. What VST do you have, how many VSTs do you have, oh I got a new VST. It’s actually a specific format but it’s such a major and popular format that it’s kind of ubiquitous. However, Logic, for example, does not allow VST. It only allows AU. And there’s another DAW called Pro Tools, it only allows AAX. So as far as you’re concerned, look at whatever host you’re using, find out what formats it allows, and just get your plugin in that format.

Now each developer decides what formats they wanna create. We decided for VST, AU, some might only do VST, you know. So you may not have access to the exact plugin you want, but, once you know the format your host accepts, look for that format. And by the way, there’s VST and now there’s VST3, which is the latest version of VST. But again, as far as you’re concerned, just check your host. If it supports VST3, get the VST3. If it supports VST, get the regular VST.

So this is Mac. Windows works the same. Download, install, open your DAW, there’s your plugin. However, IOS is a bit of a different story. Now in IOS, there’s only one format, AUV3. And instead of being called a plugin, they’re often referred to as extensions because they’re actually extensions of the regular standalone app. So at the top left corner you see Primer. And we downloaded that from the app store, just as you would any other app. And if I click that and open it directly, it’s basically just a standalone synth.

Now if I wanna record it, I’ve gotta go into a recording app. Let’s go into GarageBand. Now GarageBand, like other apps, give you different types of instruments you can add. And a lot of them have an AUV3 extension, so we see at the bottom left here, audio unit extension. Tap that, and now you see Primer. Because any app that has an extension version automatically installs the extension when you install the app, so you don’t have to go searching for an AUV3 extension.

You just have to find apps that have extensions built into them. Once you install the app, here it is, and I just tap Primer. I can play and record Primer inside GarageBand. Okay, well I hope that was helpful in understanding the whole plugin system. And if you have any questions, post them below in the comments and I’ll happily answer. And don’t forget to subscribe to our YouTube channel. We post videos every week about synthesizers and sound design.