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http://picosong.com/hGm8/ Does anyone know what rompler this vocal "doo" sound comes from? I think I got this sample from a general midi pack at some point, but I swear I've heard the sound before and it must come from somewhere.
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Mar 3, 2016 15:06
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Hello! I need some help recreating a synth sound by... me. The track in question is this, and the synth sound in question is the main synth that plays throughout: https://soundcloud.com/foamband/dont-look-for-me The synth is actually a Zebra 2 VST preset, EQd to take some of the top end off. But I'd like to recreate it from scratch using another VST - just out of curiosity, so I can understand synths better. I don't have access to Zebra 2 any more, as we only ever had a time-limited demo version of it. I use Ableton (I use Analog a lot), and I have Massive (though I'm not great at using it yet). Here's a screenshot of the settings in Zebra 2, if that helps: http://i.imgur.com/79y22Np.png Apologies if this gives you deja vu. I actually asked a similar question a year or two ago when my band were arranging the song to perform it live. That's another story though. Now I'd like to learn how to recreate it from scratch simply for the benefit of my own synth education. Any suggestions at all? Popcorn fucked around with this message at 08:23 on Mar 30, 2016 |
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Mar 30, 2016 06:59
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I've got a bit of a weird question - how would you describe / label the sort of rhythm used in Feed Me's One Click Headshot ? It's a 110bpm tune with heaps of sidechaining and modulation etc, but there's something extra groovy happening I can't quite put my finger on.
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Mar 30, 2016 11:22
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Popcorn posted:Here's a screenshot of the settings in Zebra 2, if that helps: http://i.imgur.com/79y22Np.png I don't know if oscillator 1 is actually on or off since none of the waveforms are lit and the shape is kind of weird. Here's something you could try in NI Massive: https://www.dropbox.com/s/qjnab5iohwvnyds/PopcornBrass.nmsv?dl=0
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Apr 4, 2016 23:13
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Laserjet 4P posted:I don't know if oscillator 1 is actually on or off since none of the waveforms are lit and the shape is kind of weird. That's pretty good, thanks. Appreciated. 
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Apr 6, 2016 15:10
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Forgive the uneducated question, but how do people usually work drums (kicks, snares, hihats, etc.) into DAWs and trackers? Do people use VSTs for that, or are there sets of samples that you should use?
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Apr 8, 2016 22:04
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Pollyanna posted:Forgive the uneducated question, but how do people usually work drums (kicks, snares, hihats, etc.) into DAWs and trackers? Do people use VSTs for that, or are there sets of samples that you should use? Depends on genre and style. Typically if you want real drums it's best to record the whole song or major parts like full chorus/verse. Next best thing would be loops already recorded with the pattern and sound you want. There are VSTs that emulate realistic drums but they can get pricy like anything else. There was a good article by future or computer music about making sequenced drums sound more realistic. For non-realistic drums samples are fine.
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Apr 9, 2016 02:01
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Can I make the synth from Atlantis on my Microbrute? Here is the song: https://www.youtube.com/watch?v=e4q9Sen8bUQ Asking about the synth hook. I just think it's a cool sound. I promise not to write any Coachella anthems with it
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Apr 9, 2016 03:19
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Pollyanna posted:Forgive the uneducated question, but how do people usually work drums (kicks, snares, hihats, etc.) into DAWs and trackers? Do people use VSTs for that, or are there sets of samples that you should use? Whatever works. Drag in entire Vengeance sound loops or stems, place 4 kick drums and consolidate, load them in a simple drum sampler first... Though trackers are basically samplers and sequencers so usually the separate instruments are triggered individually. Because trackers are generally monophonic samplers, triggering loops is usually more effective with breakbeats because it can give you nice complex patterns for free. The advantage of a plugin is when you want realistic drums - a well scripted library can interpret certain key combinations so you get nice riffs and rolls.
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Apr 9, 2016 20:49
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Dumb question. How can I create a synth sound that starts loud, then quickly gets quiet, then slowly gets loud again? I'm trying to create a synth similar to a classic brass sound. For example (at 1:16): https://www.youtube.com/watch?v=6fQuEqwQ2I4&t=77s I'm not sure this is possible with a typical ADSR amp envelope, because the the volume needs to fall quickly, then slowly rise to the same volume. But I'm also crap at understanding ADSR so maybe it is?
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Apr 10, 2016 10:51
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With Massive, you could combine two envelopes and route them to the same target. One with zero attack and short decay, the other with a long attack (perhaps aided by a delay) and longer decay. ADSR is just one way to describe the shape of a curve with four parameters. The predecessors (ADS and AR) are tied to the technology - capacitors charging and discharging and the voltage being routed to a VCA. A gate envelope (compare to zero A, no decay, max sustain and zero release) just opens the VCA when a switch is depressed. If you can fit the ADSR curve into what you want, it's sufficient. One weird trick on some older synths was an option that would flip the polarity of the envelope for filter modulation. I forgot whether Massive allows negative modulation like that for anything else than pitch.
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Apr 10, 2016 11:02
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Even though more complex envelope shapes are available on some synths, I wouldn't try to cram this into an envelope at all. This is part of the performance; the player is blowing harder and softer, you're not going to want to apply this effect to every note -definitely not with the same amount with the same timing anyway. Just enter this as automation or record with aftertouch or an expression pedal tied to the volume or something like that.
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Apr 10, 2016 11:33
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Flipperwaldt posted:Even though more complex envelope shapes are available on some synths, I wouldn't try to cram this into an envelope at all. This is part of the performance; the player is blowing harder and softer, you're not going to want to apply this effect to every note -definitely not with the same amount with the same timing anyway. Just enter this as automation or record with aftertouch or an expression pedal tied to the volume or something like that. To clarify, I'm not trying to emulate brass per se. I just want to create a synth with a similar amp envelope as the one in that Kill Bill example - it's an amp envelope most commonly associated with that sort of brass, so that's why I used the brass example. edit: I'm also just generally trying to learn about synths generally, particularly envelopes.
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Apr 10, 2016 11:40
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Laserjet 4P posted:With Massive, you could combine two envelopes and route them to the same target. One with zero attack and short decay, the other with a long attack (perhaps aided by a delay) and longer decay. If you're gonna be using Massive anyway, you might as well use up only a single envelope and use the Loop feature with a single repetition to create the upswing
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Apr 10, 2016 17:55
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Popcorn posted:To clarify, I'm not trying to emulate brass per se. I just want to create a synth with a similar amp envelope as the one in that Kill Bill example - it's an amp envelope most commonly associated with that sort of brass, so that's why I used the brass example. The Access Virus envelopes have a "Time" parameter after the sustain (ADS[T]R) which can accomplish a sforzando-type swell. Once the signal decays to the sustain level, the Time knob sets how quickly the signal will rise to the maximum again or fall to the minimum. This was a pretty cool feature that I've never seen on other synths, and which they went and buried in the menu on the newer versions. 
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Apr 11, 2016 22:54
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The Waldorf Blofeld has (among others) these neat envelopes:  ADS1DS2R in the picture is showing as doing exactly that brass stab + fade in thing. To me these pictures are self explanatory, but if Popcorn has questions; glad to add a couple of words.
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Apr 12, 2016 00:03
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His Holiness Gordon Reid did an article in his Synth Secrets series specifically on generating this sort of 'spit brass' envelope. Doesn't necessarily have the answer you want, but an interesting read nonetheless.
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Apr 12, 2016 04:09
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I would kill for the following ep sound if anyone has any suggestions on how to do that. I have Komplete 8. https://www.youtube.com/watch?v=MNXeIH_eCwk And this too, as it gives me chills. https://www.youtube.com/watch?v=Lhhb66IIcSQ
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Apr 12, 2016 06:06
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Thanks for the help, chums.
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Apr 12, 2016 07:46
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Weird BIAS posted:I would kill for the following ep sound if anyone has any suggestions on how to do that. I have Komplete 8. Open Kontakt, load up Scarbee Mark One (it's been included since Komplete 7) and crank up the delay effect. quote:And this too, as it gives me chills. That's not an EP, but some kind of a transistor organ. Philicorda perhaps, with just the base register open? https://www.youtube.com/watch?v=VRIND7WyHEM The best thing about Kontakt is that there's a boatload of libraries for it, so: http://store.samplephonics.com/products/sonas-philicorda
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Apr 12, 2016 10:14
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I want to make a really sort of grindy, raspy, dirty bass, like in Waters of Nazareth by Justice: https://www.youtube.com/watch?v=1SEgoi7kjw8 I have literally zero idea where to begin, though. Everything I come up with is too reedy and lacks the kind of rip that I want. Is this a simple waveform run through a bunch of distortion? Is this a bunch of waves stacked on top of each other? Is it both? I'd be super grateful if anyone could help. (I don't have access to Massive or anything like that, I do most of my synth design in Logic's ES2.)
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Apr 14, 2016 18:10
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Try starting with an FM synth. With distortion there is usually the tendency to start with something harmonically rich like a saw or square, filter that, perhaps with resonance, and then add distortion. With FM you could make harmonically complex sounds as well. Also, multiband distortion! The effect of distortion on a sound also means that some highs may get pronounced and lows may disappear. With Saturn or Ohmicide you can keep the bass intact.
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Apr 15, 2016 05:40
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Any advice on recreating the high pitch synth that comes in at 0:51 here? It seems like there's some keytracking controlling the phase or LFO or something? https://youtu.be/4d2lGAP5xvQ There's also a really cool filtered piano type sound that plays right before that and I'm curious if it's a synth or a filtered piano.. sounds like the latter to me but I can't tell. Mainly interested in that first synth though. Cheers!
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Apr 15, 2016 19:32
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how are they producing the bass sound here? synth? heavily-effected bass guitar? i'm leaning toward the latter. https://www.youtube.com/watch?v=frOGMISQGrI
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Apr 16, 2016 00:58
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Is it a Boney M sample?
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Apr 16, 2016 06:01
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How is the robo voice at the beginning of this done: https://www.youtube.com/watch?v=6TwCFc0Yjdo
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Apr 17, 2016 01:02
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sounds like a vocoder
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Apr 17, 2016 03:05
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well why not posted:Is it a Boney M sample? no, not the bass that comes in at :30
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Apr 17, 2016 19:18
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ok, a really simple one that 99/100 people could do, but I am 1/100 and hoping for some help here. the guitar part at 9 second to about 12 seconds in this video (it repeats itself after that) https://www.youtube.com/watch?v=pY_Edw9W88Q it's the same as this video https://www.youtube.com/watch?v=ivd3qE7wuWs at the 20 second mark, and he is playing it slower and you can see his hands, but I can't see well enough to figure it out.
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Apr 26, 2016 15:47
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Fozzie Bear posted:ok, a really simple one that 99/100 people could do, but I am 1/100 and hoping for some help here. Oh no way, we supported these when they did this tour in the UK! All I saw him have was his acoustic and a slide, it was a Yamaha acoustic, I do remember that. Was a top night that and they are all really nice people.
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Apr 26, 2016 19:41
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peter gabriel posted:Oh no way, we supported these when they did this tour in the UK! nice! two of the guys from my high school band (guitarist and lead singer) moved to the UK right after highschool from Canada and one of them ended up partying with them all the time and sent me back albums, which got me hooked big time.
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Apr 26, 2016 21:13
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Fozzie Bear posted:nice! two of the guys from my high school band (guitarist and lead singer) moved to the UK right after highschool from Canada and one of them ended up partying with them all the time and sent me back albums, which got me hooked big time. Fuckin cool They like us, it's really really odd and excellent - The gigs I saw of them were amazing as well, they do that whole acoustic thing and people are dancing in the aisles - it's really something to see. I can confirm they are cool as gently caress, it's always cool when people you hope are like that actually are!
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Apr 26, 2016 21:21
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I should have probably added that I am looking for the notes he is playing, not just how to make that particular sound
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Apr 27, 2016 00:47
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Fozzie Bear posted:I should have probably added that I am looking for the notes he is playing, not just how to make that particular sound Ohhh, ha ha! I dunno but I thought he used an open tuning from watching him
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Apr 27, 2016 01:05
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So my band is gonna be covering When Doves Cry at our show tomorrow and being that there's no bass in the song, I'll be playing the synth part. I'm pretty sure the original was on a DX7 and I found a pretty cool looking DX7 VST called Dexed, what parameters should I be looking at for recreating that sound? I'm pretty much a novice to VSTs and synthesizing in general
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May 12, 2016 17:14
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Don't bother with a DX7 or Dexed unless you have the exact preset. It's not that FM synthesis is hard, it's more that it's going to make things unecessarily complicated. Prince was pretty big into Oberheim, and you're just in luck; there's this which is free and pretty awesome: https://obxd.wordpress.com/ Try this preset. It's not entirely close but this was a quickie. https://www.dropbox.com/s/moyh1qdvdtgne4h/DovesCryOBXD.fxp?dl=0 As for the string chords later on, that's a string ensemble most likely. http://www.interruptor.ch/vst_overview.shtml#downloads would do the job. Alternatively, combine this preset for OBXD - https://www.dropbox.com/s/ddyxrqbe41obcnx/StringEnsOBXD.fxp?dl=0 - with this effect: http://d16.pl/syntorus which is also very useful on straight clean digital sources such as a DX7. I only know of free string ensemble emulations that are 32-bits and Windows-only for the most part. Laserjet 4P fucked around with this message at 21:56 on May 12, 2016 |
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May 12, 2016 21:51
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What's a good resource for learning FM synthesis?
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May 12, 2016 22:48
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I have a question about guitar sound. In the song Venus In Furs by Electric Wizard there's some awesome riffage but there's one note in particular that stands out here. It's like an octave or harmony thing with a poo poo load of gain? How the hell does he get that screaming sound from it?
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May 13, 2016 03:04
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syntaxfunction posted:I have a question about guitar sound. In the song Venus In Furs by Electric Wizard there's some awesome riffage but there's one note in particular that stands out here. It's like an octave or harmony thing with a poo poo load of gain? How the hell does he get that screaming sound from it? You pretty much nailed it. Sounds like 2 guitar parts harmonized to my ear. Could also be a whammy pedal I suppose. I don't know what the interval is right off the bat. The most common are thirds, fifths, and octaves, but you probably already knew that.
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May 13, 2016 09:31
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In "Awful Sound" by Arcade Fire there is this super thick, warbly sound with a really long sustain that is just gorgeous and I've never quite been able to replicate. It comes in at 1:54 here: https://www.youtube.com/watch?v=9bIfHnmu7dA&t=107s It sounds like maybe an electric piano with a lot of slow vibrato maybe? I'd really appreciate any pointers.
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May 17, 2016 15:13
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