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mrbradlymrmartin posted:If you want harmonics don't go with sinewaves, obv. The sound I think you're describing sounds most like a saw with a good bit of distortion I know the theory behind oscillators and their harmonic series. Initially I did try simply using one hypersaw oscillator, put through a resonant LPF with the cutoff automated like before. It didn't yield the result I was looking for, though - not 'clean' enough; it didn't resonate where I wanted it to. I came closer by applying a second LPF after the fact, a static one, to remove those higher overtones, but it still wasn't close enough. The sinewaves (one an octave + fifth higher) worked a bit better, didn't have as much nasty junk but still didn't sound 'digeridoo' enough. I'm sure this is should be fairly simple to reproduce, but can't quite get it still. What kind of distortion would you recommend, and can I assume you're talking about putting it before the filter?
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May 25, 2010 18:12
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http://www.youtube.com/watch?v=Gzby-91eOls There's a Rhodes and a Moog, I know that. Any idea how they're getting that sound out of the Moog? It sounds fairly standard, but it's just escaping me at the moment. To add, it's very reminiscent of ELP's Moog use, just a little less abrasive. abelwingnut fucked around with this message at 16:57 on May 26, 2010 |
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May 26, 2010 16:53
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Oscillators 1 and 2 both to 40%-ish duty cycle pulse, oscillator 2 one octave higher. Filter tracking off, cutoff turned down.
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May 27, 2010 07:29
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Anyone know how Caribou is getting the 808 and electric piano in this song to have a "sheen" to it? Is there layering involved? Pseudo stereo effects? I know there's panning. Or is it just the mixing and mastering? I've tried to get the sound by detuning then duplicating Loungelizard tracks and panning them in all sorts of positions but it just sounds muddy, I'm not sure if there's phasing or how to avoid it, do I use mono tracks when layering? Also it seems that I can get very close to the tone of the electric piano but I can't get it to sound as "fat" as the original even when I add lots of low/mid frequencies... http://www.youtube.com/watch?v=Ys1ebo0vzik
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May 27, 2010 13:48
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This is bugging me, and it may be nothing at all. Matthew Followill's solo tone on "On Call" (http://www.youtube.com/watch?v=LBZsGsie5uI - 2:05 to 2:45) Is it just a delay with reverb? I keep hearing something else like a half-wah tone to it. I know exactly what gear he's using, it's well documented, but I have no idea what exactly contributes to that sound.
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May 28, 2010 02:37
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cuppy tea posted:Anyone know how Caribou is getting the 808 and electric piano in this song to have a "sheen" to it? Is there layering involved? Pseudo stereo effects? I know there's panning. Or is it just the mixing and mastering? Could be chorus or phaser.
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May 29, 2010 13:41
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Computer Jones posted:Could be chorus or phaser. Sorry, sheen was probably the wrong word. I mean how the track has a very spacious and "fat" sound, I can't seem to get anywhere close to it with any sort of layering, reverb, EQ + compression e.t.c. it just ends up sounding pretty computery when compared to the track, and I've read this album was made in Sony Acid 1. I know he uses a real rhodes piano, so I don't know how Loungelizard compares, to me LL sounds like it has no bottom/fatness to it, even if I EQ it in all sorts of ways. This is probably all down to my lack of skill with mixing though...
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May 29, 2010 21:47
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Being in a band is there a tool/instrument to play samples instead of a computer and by samples I mean audio clips from movies and such?
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May 29, 2010 22:37
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QWERTTY posted:Being in a band is there a tool/instrument to play samples instead of a computer and by samples I mean audio clips from movies and such?  This works fine for me. You could get an SP-303 for cheaper aswell, those are great too.
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May 29, 2010 23:15
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QWERTTY posted:Being in a band is there a tool/instrument to play samples instead of a computer and by samples I mean audio clips from movies and such? Should probably throw in some other criteria on what you're looking for, there are quite a few different samplers out there with varying prices, layouts and features. This list might help you get started. The
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May 29, 2010 23:54
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Is there something similar to synth1 for Mac OS X? I've looked around and got TL-Elek7ro-II and FreeAlpha, which seem somewhat similar, but I'm still a newbie and don't know much about the differences between soft-synths (apart from Crystal which is somehow just scaring me  ).
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Jun 9, 2010 08:53
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Hello, thread. I was referred to you from a generic software thread over in SH/SC. This is probably a simple yes or no answer: is there such a thing as a free signal generator available for the PC? I have found plenty of paid ones, and I might just buy one if I can't find anything for free. The one I like the best is NCH Tone Generator. Will I find anything comparable for free?
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Jun 10, 2010 00:45
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pure data is a very full featured free synth. There's probably something easier out there, too, if that's not what you're looking for
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Jun 10, 2010 04:55
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Pure data gets a lot of hits, most of which are timing out on me. To clarify, I just want a simple signal generator, something like the one I used to use in electronics classes to make boops and beeps similar to old arcade games. I don't really need a full synthesizer, but if there's one out there that I could use in this fashion, great!
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Jun 10, 2010 05:06
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Drox posted:Pure data gets a lot of hits, most of which are timing out on me. To clarify, I just want a simple signal generator, something like the one I used to use in electronics classes to make boops and beeps similar to old arcade games. I don't really need a full synthesizer, but if there's one out there that I could use in this fashion, great! If you're an EE dude, puredata http://puredata.info/ will be reall intuitive to you. You literally lay down primitive signal generators (sin, saw, square, wavetable whatever), the freq&litude are input params, and you hook up all the primitives however you want. You literally draws wires from the outputs to the inputs, you'll pick it up in a few hours.
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Jun 10, 2010 18:09
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There is this specific sound that no matter what help I get, it always eludes me. It's a sound that is in pretty much every Cold Blank song (they loving rock) Cold Blank - 2012 (its the sound that kicks in with the kicks (0:51) http://www.youtube.com/watch?v=TLugYCSYB28&mode=related&search Cold Blank - overdose (it's the creeping bass sound) http://www.youtube.com/watch?v=USL-GQj-mqM I know to play with the filter cut off to get some of that sound, but I still can't recreate it's fatness. Is it just a simple sinewave plus subbass? Help please! 
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Jun 14, 2010 23:17
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yoozer? Mezzir? someone to the rescue!
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Jun 15, 2010 20:43
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I can't pinpoint the specific sound in the first clip. The creeping bass sound employs a trick chiptunes do too - the "blip" is simply a change of pitch mid-way somewhere. The base sound is a simple square wave, one oscillator required. If you have NI Massive or anything else with a retriggerable stepsequencer assignable to pitch you should be able to get there.
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Jun 16, 2010 09:59
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Im using ableton and I really want a particular section of a track to have a delay but nothing else (like putting delay on one word in a phrase). I've tried putting the delay on a return track and then automating it so it only the "send" dial moves at that word, but that means when the the dial comes back down the delay trails get cut off. How can I do this?
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Jun 17, 2010 15:23
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Three Red Lights posted:Im using ableton and I really want a particular section of a track to have a delay but nothing else (like putting delay on one word in a phrase). I've tried putting the delay on a return track and then automating it so it only the "send" dial moves at that word, but that means when the the dial comes back down the delay trails get cut off. How can I do this? the samples to two tracks seems the most intuitive to me. Just play the one word through a different processing chain that's got a delay on it, you'll keep your tails.
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Jun 17, 2010 16:15
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thank you so much yoozer, you are a god among men edit: oh my god, I totally messed up on posting the wrong youtube video, no wonder you couldnt pinpoint the sound. http://www.youtube.com/watch?v=YfUjyAO_9zo (:54) It's the sound that comes in with the kick. Is it just a square wave again, except fiddling with the filter cutoff? GbrushTwood fucked around with this message at 05:23 on Jun 19, 2010 |
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Jun 19, 2010 05:20
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colonp fucked around with this message at 17:29 on Mar 8, 2014 |
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Jun 19, 2010 21:20
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Three Red Lights posted:Im using ableton and I really want a particular section of a track to have a delay but nothing else (like putting delay on one word in a phrase). I've tried putting the delay on a return track and then automating it so it only the "send" dial moves at that word, but that means when the the dial comes back down the delay trails get cut off. How can I do this? Some delay plugins have a feature called "input mute" which is what you need. See if yours has it.
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Jun 19, 2010 23:11
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GbrushTwood posted:thank you so much yoozer, you are a god among men Not just the cutoff, but probably the filter drive/distortion amount as well (basically lower cutoff + drive = back to square wave again)
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Jun 20, 2010 00:02
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Barn Door posted:Some delay plugins have a feature called "input mute" which is what you need. See if yours has it. It doesent, but I just realised you can do the same thing by sticking a gate before the delay and only opening it at the correct word. Thanks.
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Jun 20, 2010 13:30
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Is there a way to make vowel sounds in a synth?
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Jun 28, 2010 08:04
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Yes, either by formant filters or several bandpass filters in parallel, or if you have an ARP2600, I've heard filter FM works quite well, too. What do you have at your disposal?
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Jun 28, 2010 13:38
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Yoozer posted:Yes, either by formant filters or several bandpass filters in parallel, or if you have an ARP2600, I've heard filter FM works quite well, too. Reason and Cubase.
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Jun 28, 2010 16:10
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Standing8 posted:Reason and Cubase. In Reason, Thor is your best bet; you can switch around the standard filter for a formant one. Use a saw wave as basis. Another option, if you only have version 3, is to split up the signal of Subtractor and use some M Class EQs to act as bandpass filters. Getting it right depends on choosing the correct frequencies for each vowel and adding some animation.
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Jun 28, 2010 21:04
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Wouldn't a square wave be the better bet to simulate a human voice?
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Jun 28, 2010 21:17
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http://www.youtube.com/watch?v=ub7FH0c2vO4 In this song, the higher riff during the verses does that buzzy, zappy, pitch-bend-y sort of thing over and over again. I've heard it in a million different things now, but I still can't seem to figure it out. The synth itself just sounds like a polysynth built on square waves, but I can't seem to get that effect. I'm wondering how I can create that using Thor, or any of the other Reason synths. Is it some sort of LFO directed at the detune knob on the oscillator or something? It seems like it is always synced up to the tempo, so either it's from a knob or just an effect. It would seem that in the video comments, someone is suggesting that a Prophet-5 is being used; does it have something to do with that synth specifically?
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Jun 28, 2010 22:05
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Vibrato on a chord, that's all
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Jun 28, 2010 22:28
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That is, apply an LFO (digitally generated midi-synced ones are best for tempo matching) to modulate the pitch of your VCOs on a polysynth, to be precise to the point of meaningless chicanery
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Jun 29, 2010 01:03
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That's not necessarily the same though. Pitch LFO on single OSCs is calibrated so that the same amount of bend gives you the same amount of cents on every note, while when you're putting vibrato on a chord after the fact, it moves everything up and down by the same amount of frequency changes. For example, a heavy pitch bend of 2 half notes is like 3Hz at bass frequencies but more like 30Hz in lead synth ranges. If you apply the vibrato to the individual notes in a chord in the synth, they will bend to the same relative point musically (C minus two half notes will always become B flat, sometimes changing the frequency by a little, sometimes by a lot), changing the relationship of frequencies within the chord. If you apply vibrato on the whole chord one step later in the chain, the chord retains its specific frequency ratios between individual notes. That means that it will lose some of its musicality, and it will sound different.
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Jun 29, 2010 06:44
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Yoozer posted:In Reason, Thor is your best bet; you can switch around the standard filter for a formant one. Use a saw wave as basis. I have version 4. Could you give me a basis on how to set it up? I havn't played around with thor much.
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Jun 29, 2010 08:26
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wayfinder posted:That's not necessarily the same though. Pitch LFO on single OSCs is calibrated so that the same amount of bend gives you the same amount of cents on every note, while when you're putting vibrato on a chord after the fact, it moves everything up and down by the same amount of frequency changes. For example, a heavy pitch bend of 2 half notes is like 3Hz at bass frequencies but more like 30Hz in lead synth ranges. If you apply the vibrato to the individual notes in a chord in the synth, they will bend to the same relative point musically (C minus two half notes will always become B flat, sometimes changing the frequency by a little, sometimes by a lot), changing the relationship of frequencies within the chord. If you apply vibrato on the whole chord one step later in the chain, the chord retains its specific frequency ratios between individual notes. That means that it will lose some of its musicality, and it will sound different.
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Jun 29, 2010 11:18
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wayfinder posted:Wouldn't a square wave be the better bet to simulate a human voice? It doesn't really matter what the raw material is. The most important thing is to model the formants right. To get basic vowel sounds you really need at least 3x highly resonant filters, preferably more. You don't strictly even need a signal since you can just drive all of the filters into self oscillation and that will do fine. The rest of it is to do with correct modulation of the filter and amplifier. The easiest way to do this is with a vocoder or talk box. You can manually do it with LFOs and ADSR envelopes if you have to but the results will be choir like at best. You won't be able to form intelligible words and talky sounds will mostly be gibberish because you don't have the necessary control - not like using your mouth/throat as the modulator. I'll post some vocalizations I made on a Virus B when I get home from work. Virus of course has only 2 resonant filters so its not quite there but you can get choral-ish sounds out of it for an octave or two around middle C. If you go to the extremes of the keyboard it loses the 'vocaloid' quality completely. Virus B doesn't have self oscillating filter models so I did have a signal dialled in. If I remember correctly they were usually sine waves mixed with wavetables. One of them I know for sure is derived from some kind of church organ and the others could be organs or dance pianos. Back in the Virus B days the wavetables weren't named so its hard to tell where they came from. The harmonic content of the signal is more or less irrelevant in the sense that all you really want is a shrill fundamental. The most important thing was to set the filter center frequencies/osc sine frequencies to the right places and drive up the resonance then start playing keys in the right register. Its also capable of talking gibberish but I've never made such a patch because that kind of thing is mostly unusable. If you don't have 3 or more filters you will get better results with a 4 to 6 op FM synth. If you have 2 filters you can get very limited results. If you have a synth with only 1 filter then forget about it. WanderingKid fucked around with this message at 13:14 on Jun 29, 2010 |
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Jun 29, 2010 12:33
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WanderingKid posted:Its also capable of talking gibberish It is. http://www.perkristian.net/studio_viruskb.shtml > and then the "Drunken Old Man" fragment.
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Jun 29, 2010 13:58
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How close could you guys get me to a Queens of the Stone Age/Josh Homme type of sound? Sounds like he has the compression turned up. Gain on a few tube Vox's came close, but I don't think he uses those amps.
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Jun 29, 2010 20:41
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^^^ Sorry, I know absolutely jack poo poo about guitars & stuff so I'll leave that to someone else  Standing8 posted:I have version 4. Could you give me a basis on how to set it up? I havn't played around with thor much. Sure! Here's a basic patch. Create a new instance of Thor. Right-click on it, choose "Initialize patch" (this puts every setting back to the basics). By default, there is one filter enabled: the Low Pass Ladder filter. Click on the [V] button, and you see this menu appear.  Choose "Formant". The filter module now changes into a red metallic box with an X-Y pad and a "Gender" knob. It's too bad that it doesn't indicate properly what vowels you're hearing, but go ahead and experiment. Keytracking causes the X-filter parameter to increase when you play higher notes, which is more like how real voices work, too. If you want to make it more speech-like, you have to add some motion. If you make everything look like this (no worries: I've only changed Mod Env, Global Env, the X-Y position of the filter and the mod matrix), it kind of says "Owww".  If you want the M-Class EQ version too; I don't know if it's actually going to sound better, but you might have more control and since Wikipedia has the exact frequencies of formants already, you can use those to approximate A-E-O-U-I and stuff like that. Gonna take a hell of a complicated Combinator to morph from vowel to vowel, but hey.
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Jun 29, 2010 21:16
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