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stuart scott posted: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=CXqrJEX8r9Q Peaaaaow. With the wah-like, formant filter like thing in the basic timbre. And then a bunch of tempo synced vibrato on top.
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May 17, 2016 15:55
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What sort of processing / effects does Mat Zo use on his percussion? It sounds so clear, but also kinda splashy. I'm a little stumped at how the hats are accomplished overall.
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May 18, 2016 12:32
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https://youtu.be/JIc51gvZ9wU What kind of brass instrument is this at 3:09? Help!
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May 21, 2016 19:57
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I am looking for steps on how to make a synth sound like this: @3:12 is when it kicks in https://soundcloud.com/dawnoflight/...-heck-of-a-ride The sound is really full, airy, saw chords (probably layered) and it sounds like there is heavy side-chaining on the kick to give it that pumping sound. I am using Ableton and have both Sylenth and Massive (more comfortable with Massive but either will work).
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May 27, 2016 00:22
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I asked in this thread about this song before, but I never managed to get the same sound, so I'm asking again in case anyone has any new ideas. https://www.youtube.com/watch?v=rcZhTkBeS8s The opening sound absolutely fascinates me. It's the kind of synthetic sound I never achieve - all my synth sounds are very, um, you know, "sounds like a saw wave, man", pretty basic. I've been trying to recreate this Beacon sound because I think it might teach me about how to make more complex, interesting synth sounds. FM synthesis has been suggested a few times; I've tried screwing around in Ableton Operator but FM is alien to me and I haven't achieved anything. I've also tried using Ableton Resonator, Guitar Rig Resochord and Guitar Rig Ring Mod on just a basic sine wave or triangle wave. The ring mod put me closest to the right ballpark, producing some interesting sorts of noises, but it's a long way from being right. I cannot listen to this song without asking "how the gently caress did they do that?" I'd give my right arm for the information at this point, the curiosity is killing me. I even went so far as to send the band themselves a PM on Facebook asking; they read it but didn't reply. Trade secret I guess. Fair enough.
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Jun 4, 2016 11:23
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Popcorn posted:I cannot listen to this song without asking "how the gently caress did they do that?" I'd give my right arm for the information at this point, the curiosity is killing me. I even went so far as to send the band themselves a PM on Facebook asking; they read it but didn't reply. Trade secret I guess. Fair enough. The reason they didn't respond could have just as well been that they have no idea how it was made either. It could have been a sample they found, liked, manipulated, then built an entire arrangement around. Considering just how easy it is to replicate anything else in this song *except* for that sound lends credence to that theory, I think. Lord knows how many hip hop beats have been produced through that method over the years. Consider that the two best parts of Radiohead's "Idioteque" are samples: the main chord progression through the song and that grimey, blippy bit at the 10 sec mark: https://www.youtube.com/watch?v=E7hvGPLexL0
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Jun 4, 2016 23:04
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The hiss in that Beacon track does make it sound like it could be a sample, there's a weird noisy bit of attack on there, and it seems to track with the riff as it goes up the scale. The main wave itself sounds kinda Squarey to my ears (though I am admittedly just listening through my phone's speaker). Use a slightly enveloped low pass to make the tail and a moderate volume envelope with sustain about halfway up on the noise. If FM isn't quite getting you there then a phase modulation synth maybe could? It sounds kinda 80s Casio-ish to me. If you can get the basic sound of the root note nearly nailed then render it and load it into Simpler to play.
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Jun 10, 2016 13:54
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Interesting point about the noise that tracks with the riff, I hadn't noticed that.
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Jun 10, 2016 14:33
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 It's the simplest two operator FM sound. The essence of it is two sines detuned from each other an octave + a couple of semitones (not sure how many) and the concept of one of the sines having a linear and the other an exponential envelope. The third operator here doesn't do anything really significant, but can be used to enhance the click at the start if so desired. The click occurs without it if all attack values are set to zero anyway. I've been sitting on this for a while, because I can easily recreate it (ballpark) in the FM Synth in Caustic, which is of no use to anyone, and the only other FM synth I have is Dexed, whose interface baffles me. You can recreate this in a VA subtractive synth as well with FM on the condition that you can give both oscillators separate amplitude envelopes. It's possible the sound was sampled at some point, but we could easily be listening to a gated noisy synth or even purposefully mixed in noise. If it was part of the sample, you'd hear the 'pitch' of the white noise change on changing notes as well. I can't tell either way.
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Jun 10, 2016 14:51
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Hey now, the FM synth in Caustic is very useful for stopping my dogs in their tracks when they are being dicks. Caustic is fun little toy for when you have 10 mins or need to get a melody/rhythm down before you forget it, though I can't see making a full track on there working out too well NonzeroCircle fucked around with this message at 15:05 on Jun 10, 2016 |
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Jun 10, 2016 15:03
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Oh, Caustic is great. I just don't expect someone will be happy to switch to it from a fully featured DAW on account of a single sound. Making a full track in it works great, but it's always working within the limitations it has. Plus you need a pretty beefy tablet or switch over halfway through to the free Windows version to actually finish something. (and then export tracks and mix in an actual DAW) I suppose one could use the Windows version to make the sound, export it as wav and then import it into some sampler. Technically.
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Jun 10, 2016 15:44
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I'm only using it on my phone atm, was unaware there was a windows version. It reminds me of how Reason was back in the day, 2.5 was my first "real" music software.
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Jun 10, 2016 16:13
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Yeah, don't get all excited, it's exactly the same thing as the phone version, but for Windows the full version is free. You can get low latency working by adding a line to an ini file, but the asio device has got to be the first thing in the audio devices list, which isn't the case on my laptop. Definitely takes after early Reason. Not that there should be an expectation that it will ever develop in a similar direction, but it's a good starter/dabble thing.
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Jun 10, 2016 17:18
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MrSargent posted:I am looking for steps on how to make a synth sound like this: Reposting this since the original link seems to have broken. Looking for help on how to make the synth chords @3:12. When I make chords/pads I have trouble getting them to sound smooth and airy and still have some intensity.
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Jun 10, 2016 19:47
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MrSargent posted:Reposting this since the original link seems to have broken. Looking for help on how to make the synth chords @3:12. When I make chords/pads I have trouble getting them to sound smooth and airy and still have some intensity. Somebody else can probably add a little more detail than me as I am still fairly amateur, but here's what I can pick out of that particular synth: -That pumping, rhythmic smoothness that you are referring to is likely the use of the sidechaining the synth's entire instrument rack to the kick drum with a very fast attack and a long release to slow the return of the sound. -There is very clearly a layer of white noise that has been either bitcrushed or run through a warmth/analog FX module. Simply add this as another instrument on your rack that follows the same midi as your actual synth to get that layer of airy hissing on top of the synth itself. -The timbre of the synth feels fairly standard to my ears and makes me think of a polysynth employing upwards of 8+ or 16+ saw wave voices, with some slight detuning, sub oscillator enabled, stereo-widening, and a touch of reverb to get that big room epic saw synth sound. -Would also add that big epic chords often add much more than just the standard 3-note triad. Make sure to add in sevenths, ninths, and/or additional tonics and 5ths from the lower octaves to really amp up the harmonics in the chord. Siets fucked around with this message at 23:22 on Jun 13, 2016 |
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Jun 13, 2016 23:18
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Flipperwaldt posted:
Holy poo poo! I'm so looking forward to trying this out! Thanks!
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Jun 19, 2016 10:26
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Siets posted:Somebody else can probably add a little more detail than me as I am still fairly amateur, but here's what I can pick out of that particular synth: Thank you so much for this, it has really helped. Do you have any suggestions or resources I could use to learn more about adding 7ths, 9ths, and adding notes up and down an octave to create those very spacious chords? My music theory is pretty poo poo and it would be helpful to learn more about building chords. I play guitar but basically have to count notes if I want to re-create a chord shape in a synth. If I could go back I would have learned piano.
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Jun 21, 2016 20:07
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MrSargent posted:Thank you so much for this, it has really helped. Do you have any suggestions or resources I could use to learn more about adding 7ths, 9ths, and adding notes up and down an octave to create those very spacious chords? My music theory is pretty poo poo and it would be helpful to learn more about building chords. I play guitar but basically have to count notes if I want to re-create a chord shape in a synth. If I could go back I would have learned piano. Somebody in the Ableton thread recommended me the book "Music Theory for Computer Musicians" and it really has been the first time music theory clicked for me out of all the other websites, YouTube videos, and other articles that I've tried to digest the subject through. The book has very clear writing and puts electronic music at the forefront of its thought processes. You'll get pictures of DAW midi arrangements alongside your traditional treble and bass clef music notation. The author also has work exercises for you to attempt after each chapter that range from easy and quick-recall to challenging. I bought it as an eBook on my phone for $25 and devoured it over a week while on vacation and it really has done wonders for my understanding of music theory. Siets fucked around with this message at 20:35 on Jun 21, 2016 |
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Jun 21, 2016 20:32
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Siets posted:Somebody in the Ableton thread recommended me the book "Music Theory for Computer Musicians" and it really has been the first time music theory clicked for me out of all the other websites, YouTube videos, and other articles that I've tried to digest the subject through. The book has very clear writing and puts electronic music at the forefront of its thought processes. You'll get pictures of DAW midi arrangements alongside your traditional treble and bass clef music notation. The author also has work exercises for you to attempt after each chapter that range from easy and quick-recall to challenging. I bought it as an eBook on my phone for $25 and devoured it over a week while on vacation and it really has done wonders for my understanding of music theory. This sounds like exactly what I need! Thank you so much for the help. Hopefully in the next few months, I'll have something I'm not embarrassed to post for feedback 
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Jun 22, 2016 19:52
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MrSargent posted:This sounds like exactly what I need! Thank you so much for the help. I will eagerly await your submission! Happy reading.
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Jun 22, 2016 20:55
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Harmony For Computer Musicians is even better about the whole "making obtuse things relatable" if you enjoy the first one.
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Jun 23, 2016 00:42
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LOVE LOVE SKELETON posted:Harmony For Computer Musicians is even better about the whole "making obtuse things relatable" if you enjoy the first one. After googling that I found out he also has a book called Composition for Computer Musicians ... I know which two books I'm reading ASAP! This sounds like exactly what I've been looking for and his foreword in the book you mention seems to agree quote:Because the computer musician is relatively new on the music scene, there is a distinct lack of materials [...] it is generally assumed that computer musicians should adapt to those classical methods of musical training ordinarily used in our schools and universities. [...] this means that computer musicians are thus faced with a huge hurdle to overcome in order to acquire the essential musical learning and training that they need. It is for this very reason that I began writing a series of books for computer musicians, of which this particular volume is the third.
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Jun 23, 2016 03:23
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I really need my guitar to grind, sputter and scream like in this Peel session around the 0:49 mark: https://www.youtube.com/watch?v=9RexZVVdD7g It sounds like controlled feedback and digital delay to me. I typically practice with headphones with my amp or in Guitar Rig and have no reliable way of forcing feedback. Does this mean I'm stuck sounding like a wet noodle?
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Jun 24, 2016 17:27
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Here's a weird question; are there any good VSTs and/or learning resources for scratching? I've always loved the effect but there's no way I'm gonna learn how to do the real thing. It feels like one of those things that could be recreated in software, and a cursory google search shows that there are several vst's that claim to do the job but I haven't found much in the way of learning resources/guides/tutorials on how to actually utilize them. I have 0 knowledge about scratching, I just know it makes for a really neat effect in small amounts, especially on chill tracks. 
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Jun 25, 2016 23:47
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Misc posted:I really need my guitar to grind, sputter and scream like in this Peel session around the 0:49 mark: Actually scratch this-- after some digging around on discogs I found a video of them performing this song live. It's not a guitar at all, the guitarist has a microphone halfway down his throat through this one. https://vimeo.com/41190389
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Jul 2, 2016 22:44
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this is probably fairly simple but i am not a synth man: i want to recreate the lead synth at 0:54 in this song https://soundcloud.com/nitecorp/skewfield-nee-d i know it's sidechained and such and i feel like it's a few saws detuned close to each other with a noise osc on the side, but beyond that i don't know whats going on
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Jul 26, 2016 02:45
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If I wanted to gain as much information about the synths, keyboards, recording tricks, effects that Electric Light Orchestra used, is there a resource or book or anything I can refer to?
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Jul 27, 2016 01:10
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big cock Salaryman posted:this is probably fairly simple but i am not a synth man: i want to recreate the lead synth at 0:54 in this song There's no detuning going on, and there's not even a noise osc. It's what happens when you use the "OTT" preset in Ableton Live's multiband limiter (see https://xferrecords.com/freeware/ ) A few saws detuned gives you a supersaw, and there's zero motion in this sound 
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Jul 28, 2016 07:55
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Weird BIAS posted:If I wanted to gain as much information about the synths, keyboards, recording tricks, effects that Electric Light Orchestra used, is there a resource or book or anything I can refer to? Are you trying to get the, uh, "signature Jeff Lynne sound" (COMPRESS EVERYTHING! LIMIT EVERYTHING! MORE ACOUSTIC GUITARS!!!) or looking for info on ELO in general?
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Jul 31, 2016 06:03
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Here's some loose information on the recording of Don't Bring Me Down: http://www.soundonsound.com/people/classic-tracks-electric-light-orchestra-dont-bring-me-down And I seem to recall Tape Op magazine had some articles with Reinhold Mack on the recording of other ELO tracks, if you want to dig through their archives.
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Jul 31, 2016 08:52
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Luigi Thirty posted:Are you trying to get the, uh, "signature Jeff Lynne sound" (COMPRESS EVERYTHING! LIMIT EVERYTHING! MORE ACOUSTIC GUITARS!!!) or looking for info on ELO in general? This helps a lot. Really though I'm looking for info on things like the album "Time" and the synths, patches they used in addition to production techniques. ynohtna posted:Here's some loose information on the recording of Don't Bring Me Down: http://www.soundonsound.com/people/classic-tracks-electric-light-orchestra-dont-bring-me-down This helps too.
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Jul 31, 2016 22:26
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Ah! Okay, that's one of my favorite albums so now I want to do some research too. Off the top of my head and with a quick search: Jeff Lynne liked to room mic the biggest bass drum he could find. The drums (and everything else, really) had some combination of heavy compression, limiting, and gated reverb. He was a big fan of the UA 1176 limiter. The main synthesizers on Time were the CS-80 and OB-X. According to Richard Tandy, they also used the Wurlitzer EP200, a Clavinet, and Concert Spectrum for specific sounds. Twilight was mostly OB-X. The sweeping synth rhythm on Here Is the News was a CS-80 with a ring modulator. Jeff is credited with playing a Moog in general, either a multitracked Minimoog or a Polymoog. The vocoder was probably the Roland VP-330. He'd layer lots and lots of 6-string and 12-string acoustic guitars together. Strumming up on chords, strumming down on chords, strumming rhythms, he'd just sit around and add overdubs to any tracks he could. Luigi Thirty fucked around with this message at 23:43 on Aug 2, 2016 |
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Aug 2, 2016 14:30
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Luigi Thirty posted:
Jeff Lynne is the 80s-based Billy Corgan, except a nicer person  Seriously, 'Soma' allegedly has around 40 overdubs. 
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Aug 2, 2016 15:31
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Rupert Buttermilk posted:Jeff Lynne is the 80s-based Billy Corgan, except a nicer person He said in an interview that growing up he had a 2-track tape recorder. He'd play something on the left channel and dub it to the right channel. He'd do whole songs like this with so many overdubs he'd wear out the tape. The man loves his overdubs.
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Aug 2, 2016 15:52
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I loving love that man. Also thanks Luigi Thirty this is really exciting stuff to play with.
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Aug 3, 2016 01:36
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Your Computer posted:http://picosong.com/hGm8/ I knew what sample you were talking about just from your description. My old keyboard had a voice for it and it was used in Super Mario Sunshine too. If you're trying to get it back you can always get the sound assets from the game with some searching; people have pulled it all apart to make remixes with the same instrument sounds. Orange Harrison fucked around with this message at 01:29 on Aug 4, 2016 |
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Aug 4, 2016 01:27
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I remember matching up a lot of Mario 64 samples with the Korg M1 library, including its version of the vocal Doo. You might be able to find a copy of Super Mario Sunshine's MIDI sample library online, people like to rip things from those games.
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Aug 4, 2016 04:39
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Thanks, both of you!  I dug up my M1 VST and sure enough, it has some good "doo"s! That Super Mario Sunshine song is pretty spot on too, I can't believe I forgot about that. I really should try to get an understanding of the M1 and Wavestation VST's some time, while browsing I found a lot of nostalgic sounds... they're just so incredibly anti-user friendly VSTs. I wish I could just rip all of their samples out and use my own sampler instead (kinda like the Proteus soundfont I bought).
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Aug 4, 2016 07:10
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Yeah, I've got the VST and the Gadget version of M1 and they're so hard to use and manipulate patches on. But the Pan Flute is like, peak 1990s and I love it so. I haven't figured out the Wavestation VST yet.
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Aug 4, 2016 21:29
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How do I get this fat bass that Kanye has? https://www.youtube.com/watch?v=-dE5KBv4mKg
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Aug 31, 2016 00:00
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