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zeldadude posted:Can't seem to replicate it exactly. I think it's a preset in my Virus C, but I'm not certain. The sound depends on a certain filter character; almost as if it's bandpass, not regular lowpass but I could be wrong. Could be that there's a separate compressor on the dry channel to mess with the attack and alter its shape. Here, try this if you have Massive. GbrushTwood posted:at 1:00 in, this crazy throaty electro wobble comes in and I cant for the life of me replicate it. Everytime I try making the wobbles in massive they just never sound that chunky. Even when I layer it with some subbass, I can't tell what he is doing to make it so fat and throaty Try duplicating the track, pan one left, the other right, move one of 'm a millisecond to the left. It's not a single sound; I think I'm hearing about 4 of 'm or so. 2 for the wobble, 1 for the sub, and perhaps something on top of that. Laserjet 4P fucked around with this message at 20:47 on Sep 24, 2010 |
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Sep 24, 2010 20:30
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Any help would be much obliged!
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Yoozer posted:With what? That file isn't working for me for some reason. I have massive, yeah, so I guess you could just post a screenshot? I have 1.0.1.008 so not sure why it's not opening.. thanks though man 
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Sep 24, 2010 21:09
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I have a stupid question. In Reason, with the Thor synthesiser, how do I load the init (blank) patch? It just loads a preset and I can't figure out how to unload it. There doesn't seem to be a blank/init patch to select. edit: just realized I posted this in the wrong thread-- I meant to put it in the 'small questions' thread. Jesus, I'm stupid today Popcorn fucked around with this message at 22:35 on Sep 24, 2010 |
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Sep 24, 2010 21:39
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Popcorn posted:I have a stupid question. In Reason, with the Thor synthesiser, how do I load the init (blank) patch? It just loads a preset and I can't figure out how to unload it. There doesn't seem to be a blank/init patch to select. Right click the thor --> select init. patch
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Sep 24, 2010 21:57
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Maguro posted:Right click the thor --> select init. patch I was being stupid and not reading 'initialize' as 'init.'! Doh! Thanks a lot
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Sep 24, 2010 21:59
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zeldadude posted:I have 1.0.1.008 so not sure why it's not opening.. Everything you don't see is set to the same settings as the INIT PATCH it starts with. I've assigned macro control 2 (not that it matters what you pick) to the cutoff so you can easily automate it.   It's not perfect, but hopefully good enough for government work 
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Sep 24, 2010 22:27
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Yoozer posted:That's the reason - this is 1.1.4 with the new filter models. Thanks man, updated my Massive and it sounds great.
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Sep 25, 2010 21:17
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GbrushTwood posted:Everytime I try making the wobbles in massive they just never sound that chunky. Even when I layer it with some subbass, I can't tell what he is doing to make it so fat and throaty I've asked around for you, and here's a piece of advice I got: Make the "core" of the bass monophonic. Then, create two similar sounds that both have unison set to 3 or something and quite a bit of detune. They should play the exact same notes. Pan one left, pan one right (move the right channel a few milliseconds) and then use an EQ on both these unison channels and cut away the low frequencies. This way you'll give the "illusion" of stereo while retaining a mono "core" sound that you can fatten up properly. Trying to do everything with just one bass sound is not going to work. Delaying can be done easily by simply inserting a delay effect, setting feedback to 0, and setting the delay time to only a few milliseconds; alternatively, lots of DAWs have track delay where you can move the track to the left or the right (usually used to compensate for outboard effects and the delay involved in using those).
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Sep 25, 2010 23:42
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To add to this: When you use distortion, distort L and R with separate fx (and use something with a certain randomness so that you don't end up with mono anyway)
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Sep 26, 2010 08:33
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Anyone have a clue what kind of effects/pedals the closing guitar riff has going on in this song? ("Big Business" by HORSE the band) http://www.youtube.com/watch?v=4eHo4aYOt6M#t=4m25s Some kind of modulator?
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Sep 27, 2010 01:05
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How do I process vocals to get this sort of sound? http://www.youtube.com/watch?v=yapMvWKJ0jM I would like to start processing my singing voice beyond simple reverb effects. I like how ghostly and crumbly these vocals sound (beyond their actual delivery, I mean). edit: and while I'm posting here again I'd just like to thank Yoozer and the other people answering questions here for what has been the most educational resource in music production since I started looking. Really an amazing thread.
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Sep 27, 2010 17:53
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Can anyone tell me how to make this crappy bass/synth pad line? http://www.industrialstrengthrecords.com/samplepacks/BrokenRulesPack_v1.html Demo 4 Using Ableton
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Oct 5, 2010 23:09
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magiccarpet posted:Can anyone tell me how to make this crappy bass/synth pad line? FM or Ring Modulation probably.
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Oct 6, 2010 06:25
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What's the jingly piano/bells sound that fades in at the beginning of this song and how can I recreate it? http://www.youtube.com/watch?v=uYeNZkqCWHw (Grandaddy - Underneath the Weeping Willow) Synth or sample?
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Oct 7, 2010 18:45
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Popcorn posted:How do I process vocals to get this sort of sound? The base vocals sound pretty dry but that "ghostly" sound you're hearing is another set of vocals set lower in db with heavy heavy reverb and high cut EQ. Also it sounds shifted to the left a bit.
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Oct 7, 2010 18:50
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Gary the Llama posted:What's the jingly piano/bells sound that fades in at the beginning of this song and how can I recreate it? I think it's just a recording of an acoustic upright somewhere in a room randomly playing octaves in E, with the lower ones panned left and the higher ones panned right. In other words, find a decent enough set of samples, and record the tracks separately.
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Oct 7, 2010 18:55
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I'll just crosspost this here... What kind of synth is heavily used in modern day disco music? It definitely has a very distinct sound, and I was thinking it might be replications of a juno, but I'm still not quite sure. The main synth stabs in this song (unfiltered at around :40) http://www.youtube.com/watch?v=7GT9XY1Xk7Q Also, there's another very distinctly 80's sound that is used a lot in modern disco: the bassline at :36 http://www.youtube.com/watch?v=iLXw1BLB2hs Thanks again you guys, this is the best thread in here by far
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Oct 9, 2010 02:26
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Okay guys, this is probably a relatively rudimentary technique that I just haven't managed to pick up somewhere along the way, but I need your help with it! best example is the following: plays right at :03, :11 and throughout: http://www.youtube.com/watch?v=I2dfGC1oziE It seems pretty common, so I'm guessing there's probably some simple trick to getting that smeary, starry-sounding synth sample sound. Obviously there's some reverb in there but I'm lost as to the rest. keep in mind I'm none too advanced with this stuff yet so kindly pitch your explanations at relative beginner/early-intermediate level. Additionally, there another use of it that I'm particularly interested in -- at least I think it's roughly the same sort of technique -- do please let me know if I'm mistaken: starting at the section that begins at 5:05, the sound that plays on the fourth beat of one bar and then both the third and fourth of the next, alternating back and forth (prob not nearly as hard to notice/locate as I'm making it sound): http://www.4shared.com/file/72232887/346fc706/The_Presets_-_Girl_And_The_Sea__Cut_Copy_Remix_.html Many thanks in advance for any help you can give me! edit: equipped with ableton and reason 3
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Oct 9, 2010 06:00
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Does anybody know how to synthesize the lead synth/stab (plays on the very first note) in this song? I looked at the bass and it seems like a fairly simple waveform that I can replicate or sample easily, but cursory examination of the lead reveals that it's quite complex. So how'd the guy get it? FM synthesis?
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Oct 9, 2010 06:33
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GbrushTwood posted:
The first one (I'm assuming you mean the staccato synth arpeggio type thing?) is a simple sound which you could replicate on any subtractive synth. The envelope should have almost instant attack, a short decay and no sustain or release time. It's got a lowpass filter on it, with resonance and some envelope modulation. Not sure about oscillators, but saw + square is always a nice combo! The second one is like the first, but use a square wave with enveloped PWM (pulse width modulation). Use a bit of resonance too, but not too much. Cobweb Heart, that's a sample of something, not synthesis AFAIK.
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Oct 9, 2010 18:04
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But the guy uses a tracker, which means that if he did use a sample he'd only be playing it at different speeds, therefore it would be slightly different in length... but if you look at the waveforms, they're all the same length. That suggests they're still synthesized.
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Oct 9, 2010 22:45
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The sampler in a tracker can also loop a sound, and even FastTracker had a rudimentary volume envelope. Then, use this trick I posted about 2 years ago - http://forums.somethingawful.com/showthread.php?threadid=2974992#post350259926 . You can get some very FM-like sounds; it's just that they're usually entirely static. Just noticed this thread is 2 years old and still going. Thanks everyone!
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Oct 9, 2010 22:51
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Yeah, I had just thought of that and was coming back to edit my post. A bit too late. 
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Oct 9, 2010 22:55
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Yoozer posted:
We should be thanking you! Thanks everyone for all the help on here, I think I can speak for all the other aspiring musicians on here when I say you guys have been a real help
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Oct 9, 2010 23:16
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Yoozer posted:Just noticed this thread is 2 years old and still going. Thanks everyone! No, thank you
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Oct 9, 2010 23:43
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Yes, thank you, Yoozer. This thread has been amazingly helpful.  Now, because I am but a toddler who continues to need help in everything he does, can anybody tell me what the sound at 0:58 is? Obviously it's slathered in soaring portamento, but I have no clue what else might be in it.
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Oct 10, 2010 03:55
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I'd be interested to know all about the lead synth used in Orbital's cover of the Dr. Who theme: http://www.youtube.com/watch?v=-H_o6ncUz3g Particular bits of interest at 0:59 and 1:07 where the synth is overdriven to distortion and sounds fantastic.
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Oct 11, 2010 14:11
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goatmouth posted:problem solved Answering this a year late because maybe somebody else reading the thread has the same question. To the immediate right of the oscillators there is a stack of buttons (1,2,3). You have to turn on one of the "2" buttons to get output from the second oscillator. Look at all the diagram arrows, they show the signal path. If you turn on the button "2" you will also have to turn on the switch that leads from the Filter 2 Bypass to the Amp.
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Oct 12, 2010 04:23
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I don't think I've ever posted in Musician's Lounge before, so be gentle if I gently caress something up in asking this. I've had a microKORG for a little over a year, but only very recently scrapped the lovely microphone that came with it in favor of something that I hoped would handle vocoding better. I got a really sweet deal on the audio-technica M4000S, so that's my setup for the moment. I want to achieve a sound that is as close to a talk-box as possible, I guess, without actually having to have a huge plastic tube in my mouth all the time. I'm trying to emulate: Chromeo but I guess I'd settle for: Tobacco I can't seem to create a vocoder sound that allows me to enunciate clearly enough to be understood, unless I'm playing chords, which for some reason handle the consonants and vowel shapes more clearly. Any suggestions? Has anyone made a really solid vocoder build they would like to share?
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Oct 12, 2010 18:57
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tickytack posted:I can't seem to create a vocoder sound that allows me to enunciate clearly enough to be understood, unless I'm playing chords, which for some reason handle the consonants and vowel shapes more clearly. Any suggestions? Has anyone made a really solid vocoder build they would like to share? Well, basically, the intelligibility of a vocoder depends on the frequencies present in the carrier (synth sound). You want a lot of harmonics present so that the voice can come through OK. This means "opening up" the filters (setting the cutoff high if it's a lowpass filter) or bypassing them entirely. You could also try having the oscillators at different octaves too, to maximise your coverage, like Osc 1: -1 oct Osc 2: +0 oct Osc 3: +1 oct Can't go wrong with sawtooth waveforms here  For a vaguely talkboxy (Zapp, Chromeo) sound you'll want it mono and legato (and go nuts with pitch bend and mod wheel!) but for a real talkbox sound you'll need a pipe in your throat, I think! My knowledge of vocoders is a bit textbook because I don't actually own a proper microphone, but this should all hold up anyway. Let us know how you get on
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Oct 12, 2010 19:36
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Barn Door posted:I'd be interested to know all about the lead synth used in Orbital's cover of the Dr. Who theme: It sounds as if the signal is split - so you get one clean signal and one overdriven signal, but the clean signal is an octave higher than the overdriven one and it sounds alsmost as if the overdrive is put after a plate reverb or something. Try that direction. Cobweb Heart posted:Yes, thank you, Yoozer. This thread has been amazingly helpful. I took out the latest version of trusty Synth1. What you hear can be portamento - but it also can be a pitch envelope. In case of Synth1, there's a problem; the pitch envelope exists, but only to modulate oscillator 2. So, my attempt uses a slow LFO, and a delay to add an extra note (because you hear two notes rising independently).  This is the patch. The result however is not exactly what you're looking for - but that's not a problem, since we can record this as a sample at our leisure (that's what the original is, too), and then use a wave-editor or the DAW to cut it down to size. See http://www.theheartcore.com/megathread/synth1_choren.mp3 . As for vocoders and talkboxes; they do something different, so generally - you're not going to get that result unless you buy a V-Synth with VC-2 card (or V-Synth XT), which has both. As for optimizing the signal: compress your voice (volume should be constant). Emphasize sibilants and plosives. Cut away the mud and fat from the frequencies. Good vocoders have a circuit built in that does this for you already. Laserjet 4P fucked around with this message at 20:20 on Oct 12, 2010 |
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Oct 12, 2010 20:11
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http://soundcloud.com/wearevillains/fischerspooner-infidels-of-the-world-unite-villains-remix-preview in this song at around :44, all these high pitched sounds come in the background, and I can't recreate them. I know it's short portamento, sounds like a sawtooth. Are they just sampling and cutting up a synth (it kind of sounds like some of the dutch house sounds)
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Oct 13, 2010 02:57
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In "Contain" by Venetian Snares (sorry, all I could find is an Audiosurf video), how would I get the weird little cutesy sound playing behind the vocals, starting at 3:26? I've heard similar sounds in several other places.
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Oct 18, 2010 21:47
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GbrushTwood posted:Are they just sampling and cutting up a synth (it kind of sounds like some of the dutch house sounds) That's an option: alternatively they've used an envelope routed to the pitch with a medium attack time (so the sound starts to rise in pitch when you hold the key longer) - and then you use an arpeggiator to create a pattern. Hitting a few random keys in a rhythmic pattern should do it. Cobweb Heart posted:In "Contain" by Venetian Snares (sorry, all I could find is an Audiosurf video), how would I get the weird little cutesy sound playing behind the vocals, starting at 3:26? I've heard similar sounds in several other places. Sample someone singing a single note, use the sampler's LFO to pitch and play at high pitch.
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Oct 19, 2010 11:44
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I have a feeling it's pretty easy but I can't figure out how to make the pad in the beginning of this song http://www.youtube.com/watch?v=ufiwFGxBjjo
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Oct 31, 2010 16:18
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I asked this question in the electronic music thread, but no one replied. I have a question about designing an effective bass patch. One thing I've started doing that's worked really well is layering two patches together, a "sub bass" patch and a "mid bass" patch. With the sub bass patch, I'm wondering if it's best to use a single sine wave, which is what I've been doing, or maybe something with a little bit more harmonic content that might fill up the sub bass frequencies a little better. What I certainly want to avoid is a muddy bass. I highpass the sub out of the mid bass patch so there's nothing there, and compress the two sounds together. Anyone have any advice on this? Thanks!
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Nov 3, 2010 07:20
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Vector 7 posted:I have a question about designing an effective bass patch. One thing I've started doing that's worked really well is layering two patches together, a "sub bass" patch and a "mid bass" patch. With the sub bass patch, I'm wondering if it's best to use a single sine wave, which is what I've been doing, or maybe something with a little bit more harmonic content that might fill up the sub bass frequencies a little better. What I certainly want to avoid is a muddy bass. I highpass the sub out of the mid bass patch so there's nothing there, and compress the two sounds together. Anyone have any advice on this? I've always gotten the best results using simple sines for the sub bass part. I think what you might be looking for is some sort of saturation to warm up the low harmonics, instead of adding harmonics yourself. That, and you may find compressing the sub bass independently of the mids is effective at 'smoothing out' your low end dynamics.
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Nov 3, 2010 19:44
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What the hell is it that makes the synth in this faint song sound so drat dirty? It sounds like its growling http://www.youtube.com/watch?v=YN00ulwPRhk
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Nov 5, 2010 17:44
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SimonomiS posted:Any ideas how to create a sound similar to the intro of this Blood Brothers song? Ahh love this song. He's definitely using a NORD synth and not an actual bass, I've seen them live a few times. You just need a good bass sound with fuzz and some slight tweeking.
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Nov 5, 2010 23:09
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Mister Speaker posted:I've always gotten the best results using simple sines for the sub bass part. I think what you might be looking for is some sort of saturation to warm up the low harmonics, instead of adding harmonics yourself. That, and you may find compressing the sub bass independently of the mids is effective at 'smoothing out' your low end dynamics.
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Nov 5, 2010 23:24
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