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Thread: Synthesizers (and other pro audio stuff)

  1. #51
    Moderator
    Registered: Jan 2003
    Location: NeoTokyo
    You guys have some big ass bells in your mind making these. Bigger than mine. =L

    These are kind of hard to compare as well, since they're good for different purposes. Aja's bells would sound great in some ancient Chinese mountain monastery, and Jason's bells aren't all that realistic but would really set the mood in some kind of surreal cyberpunk setting, like you know some kind of wicked AI ritual is about to begin when those bells start going off. Honestly I'm happy just listening to what people come up with anyway.

    Well, moving along down the list I guess, here's my interpretation of a monophonic drone. (It's low end is pretty fat so you probably don't want your speakers up too much.)
    https://soundcloud.com/user9513654/c...at-fuzz-sample

    I drew a wave that looks like a spiky crown, the envelope is opening & closing the filter on a loop, there's an LFO waving the pitch about .20 cents every 2 seconds, and I'm running it through a 3x delay at the end (Hmm... I interpreted monophonic as just using one voice, but it's just now occurring to me that a delay is going to be re-triggering it on top of itself, so maybe that doesn't count & I've DQ'd myself? Well, I kind of like this sound anyway.)

    On the side, I stuck it through a "cloud granulizer" and this came out.
    Almost sounds like an alien lecturing someone.
    https://soundcloud.com/user9513654/c...e-drawl-sample

  2. #52
    Member
    Registered: Feb 2001
    Location: Somewhere
    bit late to the bell party but here is mine
    https://soundcloud.com/darryl-25/bells
    i actually found this quite hard

  3. #53
    Member
    Registered: Jul 2002
    Location: Edmonton
    Great bells everyone. This is fun. I'm working stupid long hours this week, but I'l try to get my drone in later on.

    Well, moving along down the list I guess, here's my interpretation of a monophonic drone. (It's low end is pretty fat so you probably don't want your speakers up too much.)
    https://soundcloud.com/user9513654/c...at-fuzz-sample
    It's a good sound, nice and thick and fuzzy. I think a little bit of delay overlap isn't disqualifying

  4. #54
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Ok, here is mine: https://soundcloud.com/iamimmune/pro.../s-J7s5GMW0qwI
    Hope it isn't cheating to have used some of the Prophet 6 onboard effects.
    Fairly standard synth bell sound.
    Last edited by faetal; 8th Jul 2020 at 14:51.

  5. #55
    Member
    Registered: Nov 2003
    Location: The Plateaux Of Mirror
    Polymod is cheating. Damn it, I need to get around to getting a P6 and an OB-6 at some point don't I.

  6. #56
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    They are the modern day flagships for good reason.

  7. #57
    Member
    Registered: Jul 2002
    Location: Edmonton
    Monophonic drone: Soundcloud link

    Pretty basic; the Shapeshifter's osc 1 is set to a wavetable that contains the harmonic series. The second osc FMs and ring mods the first, and some slow LFOs modulate the amount of FM, the waveshape (which is what changes the note), and the depth of the ring mod. The whole thing into a low pass filter also modulated by an LFO, then into a reverb and delay, as all drones should be.
    Last edited by Aja; 8th Jul 2020 at 16:35. Reason: Link fixed

  8. #58
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    I've never messed with drones before, so not sure if this qualifies or not. Probably could have gotten more interesting with the Behringer Neutron, but have decided to restrict myself to P6 only for this.

    https://soundcloud.com/iamimmune/p6-drone/s-KRWhHJjLwfO

    Osc 1 set to full square with 50% pulse width. Sub osc and noise turned up about half way. Low LPF cutoff, with high resonance. LIttle touch of HPF cutoff, with high res to boost low mid. OSc 2 decoupled from keyboard and in low freq / LFO mode. Unison 6 voices, slop up to 60%.
    POly mod routing Osc 2 to Osc 1 pulse width and LPF cutoff frequency with a triangle wave. Pan spread around 50% for width. LFO set to random, very slow and with high range, controlling Osc 1 pitch and Osc 2 frequency, so as pitch is higher, poly mod of Osc1 PW & LPF cutoff become faster. Finished up with the P6 onboard bucket brigade delay.
    Last edited by faetal; 8th Jul 2020 at 14:51.

  9. #59
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Aja - I'm getting a track not found message for your drone.

  10. #60
    Member
    Registered: Feb 2001
    Location: Somewhere
    Yeh same, I am also getting the same message for yours too faetal

  11. #61
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Fixed mine - you have to generate a link via the share button, rather than paste the one from the browser, if the track is set to private.

  12. #62
    Member
    Registered: Feb 2001
    Location: Somewhere
    https://soundcloud.com/darryl-25/drone
    my effort. again i cant really describe what i have done as I just tweak oscillators and filters, resonance etc

    like yours faetal very soundtrack like

    so whats next?

  13. #63
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    I like yours - kind of likea cross between swampy frog noises and an idling quad bike engine. Nice.

    For mine, I was going for what the inside of an Emperor Ming themed passenger aircraft might sound like.

    [EDIT] I heard Aja's drone now. Nice. This is what I imagine a drone should sound like. Mine is a bit too brash I think. No surprise since you're the ambient musician.
    Last edited by faetal; 8th Jul 2020 at 17:33.

  14. #64
    Member
    Registered: Jul 2002
    Location: Edmonton
    I added mine to a new TTLG playlist and it broke the link. It's fixed now.

    Pig, yours is very Thief-like; it's unsettling but also oddly soothing.

    faetal, yours is more System Shock. The P6 has such a big sound; my Minilogue doesn't really compare.

  15. #65
    Member
    Registered: Jul 2002
    Location: Edmonton
    Quote Originally Posted by faetal View Post
    I like yours - kind of likea cross between swampy frog noises and an idling quad bike engine. Nice.

    For mine, I was going for what the inside of an Emperor Ming themed passenger aircraft might sound like.

    [EDIT] I heard Aja's drone now. Nice. This is what I imagine a drone should sound like. Mine is a bit too brash I think. No surprise since you're the ambient musician.
    Thanks. I like how it turned out, and I might try developing it into an actual track. I still feel like mine's a bit peaky in some frequencies, though. I still find it hard sometimes to make smooth-sounding tracks; most synths seem to put out tons of unwanted frequencies, and I end up using lots of EQ to rein them in.

  16. #66
    Moderator
    Registered: Jan 2003
    Location: NeoTokyo
    I think Aja's has just the proper amount of yearning for a drone. It's a classic sound. So it's my favorite.

    Faetal's sounds like what I was trying to do, modulating a low growl. The 6 layers, the subosc especially, really adds to it the way they are pulsing in and out of each other (although 6 layers and a sub isn't exactly monophonic, or is it if it's still all coming from one oscillator? Well drones are better layered in any event).

    Pig's is environmental which I like a lot. The croak is great. I feel like it'd benefit from having the tonal loop slowed down.

    (My drone is up at the top post of the page.)

    Quote Originally Posted by PigLick View Post
    so whats next?
    Next was a generated melody.

    I sort of already made one above, but it really just loops three notes. Not much of a melody. So I tried again with chords, and used the wonderful Orca's Heart on VCV Rack. I think this is also not much of a melody since Orca's Heart only alternates two chords, and also Orca does all of the work selecting the pitches. So I might try again with a legitimate multi-chord melody and hand-making a system for selecting notes. But I felt like this has such a cool sound, I wanted to share it anyway.



    Edit 2: I uploaded an new video to replace the original to level down the kick drum. So Aja's later post about the kick drum being too loud was about the previous patch.

    Edit 1: Here's the patch notes. Orca's Heart has its own clock, and I sent that to a clock divider that triggers all the events. A simple switch alternates the chords (every 3rd measure for 1 measure duration), and other switches at other time divisions switch back and forth the algorithm (the notes it selects), the starting pitch, and the octave, so it has a lot of motion over a long period. The pitch CV goes from Orca's to Vult's Bleak, which is going through Lindberg Research's Valerie Filter, for that cloud of notes at the top end (also getting the reverb). I also used pitch CV for the filter cut off, which makes it jump so notes pop out in a way I thought was kind of cool (which also goes through a timed switch so it only does it periodically, then jumps back down to normal). And a slow LFO on "Peak", which I believe is resonance. The Suboscilator for Erika's Blackwave is the bass, which gets pitch CV from Orca's channel two. Then there's an LFO modulating its wave shape. Then the rhythm is Erika's PicoDrums, with a /2 clock division doing the hihat and an LFO (that modulates a random pitch it gets from a sample & hold of noise, so it still generally pulses up & down like an LFO but notes are a little randomized) dwaddling the pitch of the kick drum. Finally the drum module goes through a high pass filter to level down the relative volume of the kick drum.
    Last edited by demagogue; 9th Jul 2020 at 00:53.

  17. #67
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Quote Originally Posted by demagogue View Post
    Faetal's sounds like what I was trying to do, modulating a low growl. The 6 layers, the subosc especially, really adds to it the way they are pulsing in and out of each other (although 6 layers and a sub isn't exactly monophonic, or is it if it's still all coming from one oscillator? Well drones are better layered in any event).
    Ah yes, I hadn't thought about the unison breaking the monophonic rule. The slop is the key parameter on mine - it makes the voices drift subtly out of tune and phase with each other to mimic older analogue gear. Since the P6 is LFO per voice, and the poly mod also works per voice, this means that the transition between notes happen as a kind of brief dissonant blurring. plus the PWM swims around between the six voices creating a kind of breathing texture in the lower registers on top of the sub, separate from the resonant filter movement, which is accentuated by the white noise. If you dial the slop down, everything sounds more in tune, and behaves much more nicely, which is usually not what I want .

    Not sure if my bell patch got lost earlier in the thread - would be interested to hear any comments, as I find that a better test of actual synthesis skill versus a drone, which doesn't have to sound like anything in particular (I'm anticipating the piano one being toughest).

  18. #68
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Quote Originally Posted by demagogue View Post


    Edit: Orca's Heart has its own clock, and I sent that to a clock divider that triggers all the events. A simple switch alternates the chords (every 3rd measure for 1 measure duration), and other switches at other time divisions switch back and forth the algorithm (the notes it selects), the starting pitch, and the octave, so it has a lot of motion over a long period. The pitch CV goes from Orca's to Vult's Bleak, which is going through Lindberg Research's Valerie Filter, for that cloud of notes at the top end (also getting the reverb). I also used pitch CV for the filter cut off, which makes it jump so notes pop out in a way I thought was kind of cool (which also goes through a timed switch so it only does it periodically, then jumps back down to normal). And a slow LFO on "Peak", which I believe is resonance. The Suboscilator for Erika's Blackwave is the bass, which gets pitch CV from Orca's channel two. Then there's an LFO modulating its wave shape. Then the rhythm is Erika's PicoDrums, with a /2 clock division doing the hihat and an LFO (that modulates a random pitch it gets from a sample & hold of noise, so it still generally pulses up & down like an LFO but notes are a little randomized) dwaddling the pitch of the kick drum.
    That's really complex. I plan to get more into generative stuff after my Minibrute arrives and I can start messing with the sequencer. If it takes, I may get a few modules geared towards that end. I have a Disting Mk4 on order, which does more or less everything (but only one thing at a time) to test the water. Been eyeing up an Ornament & Crime too.
    I will try to do my generative sequence in a few minutes. Will probably use Ableton's midi tools with the P6.

  19. #69
    Member
    Registered: Jul 2002
    Location: Edmonton
    Just in case it wasn't clear, when I said generative melody, I meant a melody that isn't composed or played manually but is generated according to a set of parameters devised by the user. I don't do this very often, so I'm not really sure of the best way. I do have an Ornament and Crime module that can generate random melodies constrained to specific scales all on its own, but that seems like cheating. Or maybe that's how the pros do it. I'll give it a shot tomorrow morning.

    Dema, I can't quite tell if your patch is actually looping or is changing slightly on each go-round, but it sounds like a generative melody to me. It's interesting in that it actually sounds like multiple instruments playing the different melodies, but I'm guessing it's just the wave shape changing periodically. I think I would bring the volume of the melody up a bit relative to the bass drum, which I just realized is also changing pitch.

  20. #70
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    I'll be using a combination of the random, scale, and pitch plugins in Ableton to generate a melody from a single note.

  21. #71
    Moderator
    Registered: Jan 2003
    Location: NeoTokyo
    Quote Originally Posted by Aja View Post
    Dema, I can't quite tell if your patch is actually looping or is changing slightly on each go-round, but it sounds like a generative melody to me. It's interesting in that it actually sounds like multiple instruments playing the different melodies, but I'm guessing it's just the wave shape changing periodically. I think I would bring the volume of the melody up a bit relative to the bass drum, which I just realized is also changing pitch.
    It's looping and changing slightly each "round" at the same time. What you do is you set switches to different parameters that are offset from each other, especially if you offset them by odd numbers. So say every 7 measures X loops, every 13 measures Y loops, every 10 measures Z loops, but the whole thing is still generally looping in a 4/4 kind of chord structure. Then you get the loops shifting on top of each other, and they'll fall in and out of shifting synchs. This is all multiples of 4 because that's all the clock divider had on it, so not so odd; but it sounds good when there are odd divisions.

    It is generative, but Orca is basically doing the generation by its internal algorithms, which I also have switching in shifting loops. I may try a more hand-made generation with randomizers, switches, and quantizers. And yes, the wave shape is changing periodically. There are only two voices, a top-end cloud of notes and a bottom-end nasally voice (the one that has its wave shape shifting).

    The issue about the melody level (which I realized and tried to work around) is that if I go any higher, especially with the reverb, it'll start clipping. And I can't dissociate the bass drum and hihat, so I lose the hihat if I bring that module's level down. I need to maybe put it through a high pass filter that cuts out some of the low level of the bass but lets the hihat pass.

    Edit: And done. I replaced my video with a new version that lowers the level of that kick drum and raises the comparative level of the other voices so you can hear them. Sounds much better, I think.
    Last edited by demagogue; 9th Jul 2020 at 00:41.

  22. #72
    Member
    Registered: Jul 2002
    Location: Edmonton
    Quote Originally Posted by faetal View Post
    Been eyeing up an Ornament & Crime too.
    Ornament and Crime has a ridiculous number of functions, and you have to have a math background to truly understand all of it, but it's still a pretty great CV source to mess around with. One of my favourite apps in it is a Lorentz attractor, which outputs voltages that correspond to two particles being drawn and pushed away from each other. The result can be extremely slow modulations that never repeat but are related. O&C is also awesome as a quantizer, which I'm sure I'll be using for the generative challenge. You could, say, send it a random voltage but constrain to a specific scale and even set certain notes to avoid. It's a bit of a menu-divey module, but I'm glad I have it.

    Also, I meant to say it, but I thought your bell was great, very icy and deep. I didn't realize the Prophet could modulate one oscillator with the other; gives it a bit of a DX7 vibe.

  23. #73
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Ok, here is my generative attempt:

    https://soundcloud.com/iamimmune/p6-.../s-bEiryRKGcL4

    Used tutorial here: https://www.macprovideo.com/article/...n-live-part-1/

    I adapted it to just trigger an 808 kick and the prophet 6, then fiddled settings until I was happy with it. For note quantization, I used a D Dorian scale, as I just love Dorian mode. Then I added rhythm to the drums using Soundtoys EchoBoy with a saturated ping delay, and added grit with some downsampling in redux.

    For the prophet, I dialed in a nice key sound, added some plate reverb and bucket brigade delay from the P6, then added further texture using Soundtoys crystallizer with a lot of feedback and high cut to allow some of the low notes from previous rounds to bleed into the melodies afterwards, creating some nice incidental root note movement.

    Tied it all together with Softube TSAR 1 reverb.

    Not sure if this really does the generative thing the "proper" way (using clock divisions to generate rhythm and quantization), but without sitting down for hours to learn all that in VCV rack, and sticking to my plan to focus on the P6, it was the best I could manage. I like how it sounds anyway. Probably went overboard with the delay & reverb and would have preferred to have distinct triggers for the keys and kick, but I think I got away with it by varying the delay timings.

    Aja - re the ornament & crime - I didn't realise it needed maths background to use. My maths isn't terrible (studied maths for 2 years before university, but am a science guy generally) - is it something which could be useful from a cheat sheet? Could I live with black boxes? If not, then I'll maybe reconsider. And yes, the poly mod on the prophet is one of its key features carried over from the prophet 5 (but more options I think).

    Mark Doty covers how cool the POly mod is here: https://youtu.be/95y0_th74Rg and here https://youtu.be/2vtIH7BeDUg - it does give you the possibility to get some cool analogue FM stuff going on, with Osc1 and/or both LPF & HPF.
    Last edited by faetal; 8th Jul 2020 at 21:53.

  24. #74
    Member
    Registered: Jul 2002
    Location: Edmonton
    When I said that, I meant that it takes a maths background to actually understand what all of the different parameters are doing, but you don’t need to understand everything to use it and have fun. I’m terrible at math and I enjoy it. I just have to take their word, for instance, that I’m manipulating a Tonnetz transformation.

  25. #75
    verbose douchebag
    Registered: Apr 2002
    Location: Lyon, France
    Ah cool. That I can live with.

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