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So I'm trying to recreate a really lovely bass from Hatiras recently, or at least something in the proximity of it. HJoey Seminara and Danny Nagels feat. MC Flipside - Just the Tip The bass has a really low cutoff at first, and opens up about halfway through the song. So far, I gather it's either a low pitched saw/square wave (or possibly both layered), with a filter a relatively short filter decay. At the drop, That filter opens up as does the sustain. I figured I'd try to use Arturia Minimoog or Sylenth to try and recreate it, and I've also experimented with doing it using Operator in Ableton. I'm able to do a halfway decent job of getting the basic sound- but I can't seem to get the 'crunch' sounding right. I don't even want it to sound the same necessary, but just a way to get that nice warm crunch. It also has a nice, bassy to it that's very in your face, so I'm thinking it's layered with something with a really quick attack and short decay for some added thunk.
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Feb 4, 2013 13:51
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field balm posted:I think you're on the right track, it sounds to me like a filtered square (maybe with saw), working the filter decay (sounds like maybe the filter envelope depth rather than the filter freq being changed), maaaaybe a bit of a pulse wave envelope - there is also a massive amount of sidechaining to the kick which is often the trick to getting those housey sounds pumping. Yeah, the sidechaining is pretty brick wall for that track. I worked out that it was a square just fine. By filter envelope depth, do you mean the filter envelope inside the vst opens up as opposed to an after-the-fact filter sweep? I kind of figured that was the case if so. Also, what do you mean by pulse wave envelope- is that what's generating the gritty timbre?
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Feb 8, 2013 14:18
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Flipperwaldt posted:I just hear a bunch of creative wide range pitch bending + some filter automation. There's an LFO affecting the pitch in there that has it's speed linked to key follow, which gives you that 'It's a sample!' notion, but in my opinion it doesn't have to be. Massive is great, but I find the Arturia Minimoog is a bit better for getting the pluckier progressive house sounds that deadmau5 is largely famous for. Of course that doesn't help terribly much for Ghosts N Stuff- massive and FM8 are probably a bit better suited to that end.
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Feb 20, 2013 15:29
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CharlesDexterWard posted:
This song is glorious and sounds like it belongs on the soundtrack of Pilot Wings 64. Charles: With detuning, the key is to do it very tastefully. The more an oscillator is detuned, the more it sounds like a distinct tone and the faster the 'beat' frequency. The beat frequency described that slight rythmic variation in intensity (Not those pitch wobbles, but on a sustained note). To get those nice long tones that seem to evolve and fill up space, you want only the slightest of detuning. It is incredibly easy to overdo detuning, and you usually won't go past '1' (on a 0-10 dial so to speak) to achieve the effect you want. Also, learning the difference between detuning individual oscillators from one another, and unison detuning will help in reproducing more complex timbres on pads.
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Mar 26, 2013 22:56
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That's basically right. The oscillator is likely a saw as well, with maybe some slight detuning. Filter envelope should have a slow attack to give it that opening/evolving feeling, but it never quite opens up all the way as its rather smooth. There's a similar, but subtler thing going on with the volume envelope. Give it some medium amount of resonance on the filter. I'm listening on my phone but I may hear a slight phaser or some other effect?
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Apr 1, 2013 15:01
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So, while I know all the theory of FM synthesis and know all the techno-jargon surrounding it, I remain terrible at it so I must enlist help. Particularly, I want to know how to replicate two rather common sounds in an FM Synthesizer. Danger 4h30 Now, the main bass (Which comes in after 8 bars) I can synthesize just fine on a moog or analog synth emulator pretty well, but it lacks a certain grit and character that I love. Wondering how I'd do the same on the FM Synth. Secondly, and more importantly, I'm curious how to make that classic sega genesis electric guitar style lead that comes in around 0:50 and dominates the mix at 1:08 on or so.
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May 13, 2013 16:22
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https://soundcloud.com/fuckmylife/drop-the-poptart The chordy/pad thing in the second half when the cutoff slowly opens up. I have a lot of experience making these big analog sounding synth chords and the like, but there's something distinctly retro about this one- I think in the slight wobble of the frequency and what I think is a bit of FM grit- that reminds me very much of the Sega Genesis. I've seen it in plenty of deadmau5 newer pads and chords as well as Madeon's work and tonnes of synthwave and nudisco alike. The most relevant example I can think of that uses it gratuitously is the buildup of deadmau5' 'Fn Pig', fading in around 3:20. Now I'm used to making these types of synth with a minimoog, but I'm not sure if that'll work here. I'm not getting that nice retro vibe or grit. I'm thinking it must be an an actual analog modular synth, so I'm betting there's a way to faithfully reproduce it in FM8. FM is like the final frontier of intimidating synthesis that I still suck horribly at. PoizenJam fucked around with this message at 02:17 on Nov 9, 2013 |
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Nov 8, 2013 23:05
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wayfinder posted:FM8 is pretty much the polar opposite of analog modular. FM is nothing like subtractive synthesis... Sorry I misspoke- i went back and edited the prior post at some point to add info and it didn't end up making sense. I do know the difference, I was generally just referring to the grit and frequency drift, which I've come to expect from EITHER analog synths or the metallic twang offered by fm synthesis. I figured the sound in question could be recreated satisfactorily with either, but I I got a distinctly retro vibe which reminded me of the Yamaha 4OP in the sega genesis- which made me lean toward fm. nu_vagus posted:I'm not in a position to give it a go right now, but knowing the way he works I think your best bet would be to utilise layering (HEAVILY) and if you have it, Sylenth1. That's the source of a lot of his lead sounds, and I feel like you could get a very similar sound if you layer a couple of different saw lines with a lowpass or two on it. I was somewhat afraid of that. I figured there's lots of layers going on- and that's gonna be hard to really nail down. I've typically opted for Arturia minimoog in the past for mau5y chord layers, but it's lacking when it comes to the LFO functionality I'll need for this synth. PoizenJam fucked around with this message at 15:57 on Nov 9, 2013 |
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Nov 9, 2013 15:52
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How might one create that old classic capcom/Nintendo guitar sound like the one Here (0:34). I hear it used in a lot of Mega Man games and whatnot, and it sounds synthesized rather than played live. I'm pretty knowledgeable about digital vsts and the like, but I'm lost when it comes to amp/cabinet modelling and how to get that sound.
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Feb 9, 2014 04:25
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Edit: Removed. With your help and using a cleaner sample to begin with I was able to get a satisfactory sound by tweaking the '80s solo' preset in Guitar Rig. Thanks!
PoizenJam fucked around with this message at 06:08 on Feb 9, 2014 |
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Feb 9, 2014 05:20
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Ableton has an absolutely wonderful set of built in sampled guitar patches that emulate just that style of sampling, thankfully. Clean samples based on quick attacks and short loops. Definitely higher grade than the sampling techniques you mentioned, but it will do. Even has some nice effects like slides,squeels, fret noise and whatnot built in. You'd suggest forgoing Guitar Rig altogether- so like, no amp/cabinets? I was able to get a satisfactory sound using the '80s solo' preset on Guitar Rig, tweaking the mids, lowering the distortion, then doubling the guitar track down 5 steps or up 7. And what luck, I picked up the Korg M1 from the Legacy Collection not that long ago. I've been using it mostly for tuned percussion, mostly bells and the like. I recognized so many of the samples on the page you linked but just hadn't dug deep enough into the VST to find them, as the M1 VST comes with lots of expansion presets that pretty much burried the factory ones from the original. Edit: Also very pleased to learn the Korg M1 is responsible for the Seinfeld theme's characteristic bass. And here I actually thought it was played. PoizenJam fucked around with this message at 07:02 on Feb 12, 2014 |
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Feb 12, 2014 06:57
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Pen Expers posted:Can anyone tell me how to recreate the synth sound that comes in at 1:36 here? It's thin and hollow sounding, with some metallic characteristics and a slight filter envelope. I'd start by messing around with a pulse or square wave with most of the lower frequencies filtered out, and maybe a lo-pass VCF that opens with a slow attack. Throw a nice reverb over the top of that for some space and you should be reasonably close.
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Mar 19, 2015 01:01
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Ben Prunty - Hacking Malfunction How would one go about recreating the squelchy, glitchy sounding robot voice sound at around 0:54? Is it just a saw wave with a dormant filter and random pitch variations/stutters? For anyone familiar with FTL, it's the same kind of sound effect used for Lanius speech or actions,
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Apr 21, 2015 03:45
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| # ¿ May 10, 2024 00:11 |
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What would I use to recreate the tone of Com Truise's bass guitar? It has a really nice attack but a kinda tame bottom and middle end. The tail of the notes sounds pretty trippy and airy. Somewhat reminiscent of some New Order/Joy Division stuff.
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Oct 18, 2016 01:45
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