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Now I got it. I made it just how I wanted it, and found out that it sounds even better with a high-pass filter. Thanks again guys! I'd be lost without this thread.
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Jan 7, 2014 20:34
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| # ? May 27, 2024 18:02 |
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I'm curious what synth techniques were able to create a sound in the song here: The Field - The Deal @ 4:00 https://www.youtube.com/watch?v=5I41qt-O8Rk You can hear a synth that slowly sweeps back and forth between low and high. I'm not exactly interested in remaking this exact sound, but I want to know what you guys think about how he makes it sound like its cutting in and out at various rates. My coworker guesses that he uses a gate, what do you guys think?
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Jan 15, 2014 21:05
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agscala posted:I'm curious what synth techniques were able to create a sound in the song here: It sounds like he has a very noisy patch that is first being filtered by a slow and deep sine wave LFO with a splash of resonance (and the resonance sweeping up and down is what makes the basic pitch sweeping sound), and while he could be using a gate hooked up to an arpeggiator it's also possible that he has another LFO with a square wave set strong enough so that it totally closes the low pass filter when it's on the down part of the wave - and then has that running on a pattern with an arpeggiator or something similar (and some synths let you modify one LFO with another so you could make a pattern by having two squares at differing speeds). At least that's how I'd try to do it.
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Jan 15, 2014 21:50
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VV Thanks! 
No. 9 fucked around with this message at 11:34 on Feb 1, 2014 |
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Jan 15, 2014 21:58
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No. 9 posted:I figure this might have been answered but don't know what the term for it is. How does one do this vocal pitch effect thing? quote:Also what's the general synth used for the trap aspect in it? I know they use Ableton Live. Doesn't matter much as long as you use a bandpass filter or EQ to make it nasal.
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Jan 17, 2014 10:36
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I'm currently producing a soundbank for Massive. What do you guys look for in a bank?
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Jan 17, 2014 12:30
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wayfinder posted:I'm currently producing a soundbank for Massive. What do you guys look for in a bank?
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Jan 17, 2014 13:04
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Ive got another group of sounds I am trying to imitate.I am working on making dirty-mechanical-noise-type sounds, among other things. The mechanical growling sound right at the start of this: https://www.youtube.com/watch?v=txAP8Es4nz0 is something I have not heard before, how do you make that sound? The second one is a sound from this which plays starting at 2:44 https://www.youtube.com/watch?v=MJJ3AzCYooI
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Jan 20, 2014 21:55
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I am the M00N posted:Ive got another group of sounds I am trying to imitate.I am working on making dirty-mechanical-noise-type sounds, among other things. The answer to both your questions is distortion. Specifically, the first one is a patch with the filter resonance cranked all the way up and the cutoff at about 1/2, then distortion then possibly some reverb. Second one, source doesn't really matter, feed anything into enough distortion and it will all end up sounding the same.
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Jan 21, 2014 01:39
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Yep, nothing but effects. The source sound hardly matters. Guitar, synth, vocals, whatever.
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Jan 23, 2014 03:26
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https://www.youtube.com/watch?v=K8UyHeGW2qQ Where is the cheesy pan flute in this song from?
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Jan 26, 2014 06:05
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Number Two Stunna posted:https://www.youtube.com/watch?v=K8UyHeGW2qQ Given the time period, statistically it's from a DX7.
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Jan 26, 2014 14:59
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Sizone posted:The answer to both your questions is distortion. Specifically, the first one is a patch with the filter resonance cranked all the way up and the cutoff at about 1/2, then distortion then possibly some reverb. Second one, source doesn't really matter, feed anything into enough distortion and it will all end up sounding the same. I was wondering if you know any free vst programs I can use for distortion?
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Jan 26, 2014 19:12
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I am the M00N posted:I was wondering if you know any free vst programs I can use for distortion? Here are some of the ones I use: Subtle: FerricTDS Simple: IVGI Tape: Ferox Sound Quality: Timemachine M/S processing: Rescue Mk II Amp: Thrillseeker VBL Exciter: Thrillseeker XTC Combfilter: BoomComb Glitch: SupaTrigga Saturation (and much more): NastyVCS Phase/Distortion: SupaPhaser Stereo Overdrive: UpStereo Dynamics tool that can be abused for distortion: Limiter6
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Jan 26, 2014 19:38
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Sizone posted:Given the time period, statistically it's from a DX7. Given the fact that that sounds suspiciously like the generic GM pan flute sound it's actually likely the other popular 80's digital synth: D50. Or any of the other early Roland romplers.
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Jan 30, 2014 09:16
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HotCanadianChick posted:Given the fact that that sounds suspiciously like the generic GM pan flute sound it's actually likely the other popular 80's digital synth: D50. Or any of the other early Roland romplers. D50, 1987. Valerie, 1986. Man, that even predates the MT-32. Also, calling a D50 a rompler is arguable.
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Jan 30, 2014 09:46
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How to get such an 'evil' sounding synth? https://www.youtube.com/watch?v=oyhkoZlMhzM
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Feb 1, 2014 19:21
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polynominal-c posted:How to get such an 'evil' sounding synth? It sounds abrasive like FM... You could probably get close with FM8, distortion, reverb and some filter envelope to make it open up.
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Feb 1, 2014 20:40
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ashgromnies posted:It sounds abrasive like FM... You could probably get close with FM8, distortion, reverb and some filter envelope to make it open up. A lot of the evilness comes from the background drone. Like how a small child looks cute when it's running around through a park, but would look scary running through, say, an abattoir.
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Feb 1, 2014 21:54
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Sizone posted:A lot of the evilness comes from the background drone. Like how a small child looks cute when it's running around through a park, but would look scary running through, say, an abattoir. I'm not terribly experienced with synthesis so take this with a grain of salt, but the background drone sounds to me like two chorus'd saw waves - one playing at the perfect fifth of the other (7 semitones up) - with a lowpass filter that sweeps subtly up and down.
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Feb 1, 2014 22:08
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I'm thinking ring mod tuned so that you get a similar effect to detuning osc 2 an octave and 4 semitones.
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Feb 1, 2014 23:54
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I have a bit of a strange one. I need some help recreating a synth sound from one of my own songs. You can listen to it here: https://soundcloud.com/jamesduffy-1/dont-look-for-me The lead synth uses a preset in Zebra2 called HS Room 5 (with a filter and some compression and distortion). I loved the sound of it and ended up writing a whole song around it. Now my band is trying to work out how to play it live. However, I never bought the Zebra 2 VST, and the demo version stops working after 30 minutes, which is really irritating when we're rehearsing. I'm wondering if it can be recreated using a free synth instrument like P8, Synth1 or one of Ableton's synths. I spent some time trying to do it myself, but I'm a bit of a synth amateur I haven't got anything sounding nearly as good. It's particularly the filter envelope I can't get sounding right. Can anyone listen to it and hazard a guess at whether it can be done? Here's a screenshot of the settings in Zebra 2, if that helps: http://i.imgur.com/79y22Np.png
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Feb 2, 2014 00:05
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I have no idea how to recreate that sound but I really like that track.
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Feb 2, 2014 01:02
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Popcorn posted:I'm wondering if it can be recreated using a free synth instrument like P8, Synth1 or one of Ableton's synths. I spent some time trying to do it myself, but I'm a bit of a synth amateur I haven't got anything sounding nearly as good. It's particularly the filter envelope I can't get sounding right. Buy a copy of Computer Music magazine to get Zebra|CM for free. Zebra has a lot of unique magic in its oscillators and filters which Howard Scarr exploits to the max in his presets. Trying to emulate such tonality elsewhere is going to be one hell of a pain compared to doing it within the same engine (albeit slightly cut down in the CM edition). (Zebralette can be downloaded for free straight from u-he.com but is even more cut down than the |CM edition, so do try getting Computer Music if you can. It's worth it just for that plug-in!) polynominal-c, you should also look into using Zebralette/Zebra|CM/Zebra. It's oscillator FX are perfect for sculpting those dark, evil motion timbres. Edit: actually, everyone into great and deep sound design needs to get into Zebra. Partner it with Aalto and you'll have enough sonic juice to survive for decades. ynohtna fucked around with this message at 01:26 on Feb 2, 2014 |
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Feb 2, 2014 01:21
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I don't think this is a complicated question, but I don't know what I would search on Google for this. How can I replicate that 'turn up' effect that's going on there. I know it's being slowed down but I don't understand how the part before the little bass kick thing is being done. https://soundcloud.com/keevo/turn-up-sample
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Feb 2, 2014 09:09
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Hi, I was wondering if anyone had any insight on how one might program an electronic tanpura drone sound on a synth. Judging by the sound in the youtube link below, it reminds me a bit of the tones from FM synthesis, but I'm pretty much a babe in the woods when it comes to synth programming...just interested in how this particular drone sound is made and I couldn't find much in the ways of tutorials online. Any thoughts or ideas much appreciated! youtube: https://www.youtube.com/watch?v=k9X-w83TTPA
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Feb 2, 2014 09:20
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While I'm at it, I've been wondering for a long time what effect creates the echoey intro sound on Chairlift's "Bruises." The sound comes in at 13 seconds into the song. At first blush it reminds me of some of the sounds I've heard come out of Soundtoys' Crystallizer plugin...but then again, maybe it's something more simple. Thanks in advance! here's the link: https://www.youtube.com/watch?v=ZQ9hLOHj8ag
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Feb 2, 2014 09:27
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stickyfngrdboy posted:I have no idea how to recreate that sound but I really like that track. Thanks! ynohtna posted:Buy a copy of Computer Music magazine to get Zebra|CM for free. Zebra has a lot of unique magic in its oscillators and filters which Howard Scarr exploits to the max in his presets. Trying to emulate such tonality elsewhere is going to be one hell of a pain compared to doing it within the same engine (albeit slightly cut down in the CM edition). I had no idea about this. Thanks for the tip, it sounds promising.
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Feb 2, 2014 12:41
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Popcorn posted:I had no idea about this. Thanks for the tip, it sounds promising. No problem, mate, and I, too, dig your tune.  Just a quick correction, though: Zebralette is not a cut down version of Zebra|CM. They each have a different subset of features to the full Zebra so do try to get both and dig deep. Layered together they make a powerhouse source for evil, dark drones, groans, pads, zaps, etc etc (at least until one can't hold back from buying the full Zebra for maximum satisfaction). Anyway, with one or both of the the freebie versions you should definitely get drat close to your desired sound. Zebra|CM edition is only 32 bit, and has 2 oscillators but lacks spectro/geo wave editing and the amazing oscillator FX. It does have a post-oscillator filter, with a myriad of filter types to choose from. Zebralette has a single oscillator but with the full set of deep editing features on it including dual modulatable osc FX. It also has an multi-segment envelope generator on top of the base env and LFO options. There's no filter inside Zebralette (!) although one of the osc FX choices is a filter, and the oscs can be manipulated and warped to such a degree that it's not really needed a lot of the time. Also, the chorus effect can be abused to take out any excessive top and bottom end. Edit: and of course every oscillator in any of the Zebras can be instantly cloned through a quick drop-down menu into 2, 4 or 11 (!) detuned and panned copies of itself for added thickness and insanity. 
ynohtna fucked around with this message at 13:38 on Feb 2, 2014 |
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Feb 2, 2014 13:13
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blevins posted:Hi, Rompler, sitar patch. Serioulsy, it's sample playback with a looped portion in the middle. Wavetable synths are also -really- good for getting drones like that. Second sound, I'm having a hard time placing the source instrument but 1: reverse a sound, apply a delay then flip it back 2: apply an envelope with a fairly slow attack, 3: chorus or celeste. Sizone fucked around with this message at 14:55 on Feb 2, 2014 |
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Feb 2, 2014 14:49
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Sizone posted:Rompler, sitar patch. Serioulsy, it's sample playback with a looped portion in the middle. Wavetable synths are also -really- good for getting drones like that. Good to know, thanks!
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Feb 2, 2014 15:14
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I just went out and bought an issue of Computer Music but I think I got some kind of special issue for morons because the CD doesn't have Zebra on it.  I guess I'll look tomorrow and see if there's a "normal" edition.
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Feb 2, 2014 15:17
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Sizone posted:Rompler, sitar patch. Serioulsy, it's sample playback with a looped portion in the middle. Wavetable synths are also -really- good for getting drones like that. Popcorn posted:I just went out and bought an issue of Computer Music but I think I got some kind of special issue for morons because the CD doesn't have Zebra on it. Or maybe I'm wrong about how that works.
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Feb 2, 2014 15:35
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OK, I managed to get a copy at last. Feeding the Zebra 2 preset into Zebra CM sort of works but it adds a lot of white noise. I took that out and now I have something that's SORT of there. A lot of learning to do... e: biggest mystery so far is that setting the sustain to maximum doesn't actually seem to infinitely sustain the notes. Popcorn fucked around with this message at 22:31 on Feb 3, 2014 |
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Feb 3, 2014 22:29
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Popcorn posted:e: biggest mystery so far is that setting the sustain to maximum doesn't actually seem to infinitely sustain the notes.
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Feb 3, 2014 23:02
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Uh... can I get it to sustain the level... over time... for as long as I hold the key?
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Feb 3, 2014 23:14
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Popcorn posted:Uh... can I get it to sustain the level... over time... for as long as I hold the key?
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Feb 3, 2014 23:31
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Yes, usually when I set sustain to maximum I expect it to sustain for as long as I hold the key. But that isn't happening here and I'm not sure why. Don't worry, I'm not expecting you/anyone to figure out why. But your initial response baffled me completely e: oh wait, I think I figured out what you mean about level and not time. right, hm.
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Feb 3, 2014 23:35
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If you want it to keep sounding without pressing keys you have a few options: - hope the plugin has a "drone" mode - hope the plugin has a way to disable the envelope - hope the Release stage of the envelope has an "infinite" value - take a piece of cardboard/credit card, wedge it between two keys so that one of 'm is depressed - buy a sustain pedal, play the note and put a brick on it (the sustain pedal, that is)
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Feb 3, 2014 23:36
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Laserjet 4P posted:If you want it to keep sounding without pressing keys you have a few options: No, I just want it to sustain while I hold the note. This is purely me being poo poo at Zebra.
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Feb 3, 2014 23:37
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