cant explain it but i hear i so much… sounds like a clear saw sound but i can never get it right… maybe its the effects that im not gettig right, any tips? melodys such as >
@ 1.55
@ 3.20
@0.30
@ 3.20
@0.30
+1, that sound is hot
Hey Dean
It’s pretty much just a heavily filtered saw wave with lots of polyphony (maybe 10 or more voices). No attack or decay, full sustain, about a third release. Play with the release as you open the filter. You can get a richer sound with two OSCs detuned and slightly phased.
One key thing for me when I do this type of sound is to have a root note in the chord down in the low register say the 1 area - like A1 or E1 etc, or the highest low the 2 register C2, B2 etc depending on the key you’re in. As it gives it some deep fullness.
if you have sylenth, there are loads of videos out there on YouTube that help you recreate it.
This sound consist of 2 layers one being the filtered saws and one being the top high layer.
The first layer can be created with 2 saw waves one pitched down an octave and one pitched down -5 and the cutoff set to 11oclock with no attack no release no decay and full sustain…add a LFO on the pitch and pitch it up by 0.30 with a noise wave and high lfo rate so there’s subtle pitch changes and its more wider…
(im using massive so yeah…)
For the second layer select 2 saws and detune them against each other and have the same ADSR settings as the first layer and pitch the oscillators up 7 semitones or you cna do -19 or -3 depends what you’re going for and have your cutoff at around 1 o clock and the patch is done i then duplicate it and pan one to the right by 25 and one to the left by 25 then group them and add some chorus + Reverb + Ew (Cut Lows)
then i group the 2 layers eq some mud out if its present and compress to gel them and make them more present in the mix…it doesnt always have to be saw waves experiment and have fun
Hey mate I’ll have to give that a go later. Luckily I’ve got Massive too though I’ve been using Sylenth a lot lately.
One thing that always confuses me with tuning multiple OSCs at different pitches, like you suggest say 7 semitones down, how does it affect a midi chord progression?
If I’ve got a midi progression that already has, say four notes in each chord, then won’t each note have one OSC playing that tone and another playing a tone 7 semitones down from it. If so, depending on how you tune each OSC, won’t you end up with some notes out of key?
Ahh too much theory stuff :hehe:
Nice one Subject, I’m going to give that a go later as well.
[quote]jonsloan (16/08/2011)[hr]Hey mate I’ll have to give that a go later. Luckily I’ve got Massive too though I’ve been using Sylenth a lot lately.
One thing that always confuses me with tuning multiple OSCs at different pitches, like you suggest say 7 semitones down, how does it affect a midi chord progression?
If I’ve got a midi progression that already has, say four notes in each chord, then won’t each note have one OSC playing that tone and another playing a tone 7 semitones down from it. If so, depending on how you tune each OSC, won’t you end up with some notes out of key?
Ahh too much theory stuff :hehe:[/quote]
All chords really are Harmony / playing multiple voice, so when i say something like tuning one osc -12 and -5 and +7 your essentially creating a chord you are creating harmony among the oscillators… so lets take the the -12 + -5 + (+7) tuning example lets say youre hitting middle C and you have your oscillators tuned that way so youre hitting C3 oscillator one is pitched down an octave so osc 1 is playing c2, then youre going down -5 from c3 so your second osc is playing at the pitch of G2 and youre going +7 (semi tone btw) which is G3…so youre playing a perfect fifth on a 2 octave range…
Now i wouldn’t recommend programming a synth when playing a chord progression (chord) because it will sound too stacked and ugly…
I like to create multiple patches because i hate the unision option in synths because when you stack too many voices you get phasing in your low end so what you can do is duplicate the patch/layer do panning to make it wider and eq each individual layer to avoid that phasing and its more controllable that way…and i love to layer my sounds so so i create it in layers instead of making it in one patch i have more control to each layer (low,mid,High)
Also sometimes on sounds like these youll notice that the lower layer isn’t changing pitches like that top layer
Cool, that’s what I thought though I was worried I was maybe missing a trick. I end to keep all the OSCs at the same pitch when using them to play a chord progression. So, it’s good to note that pitch tuning like that should be for single note midi leads, etc. Ta!
The +5 or +7 semitone detuning on a synth usually means you dont have to write massive chords in midi. Try tuning your synth like that and play a melody where you only hit single notes.
[quote]jjdejong0 (16/08/2011)[hr]The +5 or +7 semitone detuning on a synth usually means you dont have to write massive chords in midi. Try tuning your synth like that and play a melody where you only hit single notes.[/quote]
Yup spot on…you can build chords with your synth its like using the Chord plugin in ableton