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Filters are one of the major differences between software and hardware. Software filters work by digital algorithm rather than circuitry. I'm sure it's not impossible, but I really can't see a program imparting the same effect and warmth to a sound as a good hardware filter.
To quote Sound on Sound's Gordon Reid :
| quote: |
In conclusion, it should come as no surprise that the filters are the defining elements in an analogue synthesizer. Indeed, if you take the output from a Moog oscillator and pass it through a Korg filter, the result sounds like... a Korg synthesizer. Conversely, if you filter a Korg waveform using a Moog filter, the result sounds like a Moog synthesizer. So, while you may get sick and tired of analogue anoraks whinging on about their filters, they do have a point. Filters are crucial, and if you are into creative synthesis, your sound generation will depend upon what you've got and what you do with it. |
i need help with decoding the sound of tomcraft - brainwashed (dj choose mix)... have u any idea?
i would be grateful for flp or sthg :P
here's sample 
sidechaining... that's the key mate... a compressor with sidechaining ability...
| quote: |
| Originally posted by CandyRaver666 Filters are one of the major differences between software and hardware. Software filters work by digital algorithm rather than circuitry. I'm sure it's not impossible, but I really can't see a program imparting the same effect and warmth to a sound as a good hardware filter. |
| quote: |
| True analog synths are not being made anymore. |
"the magic *reverb* formula"
time the pre delay. it doesn�t matter what reverb you use on what instrument, you will find that some sound better with some interments but at the same time you might be going for a totally different feel in the song. Really what matters the most is the timing on the pre delay. lets say you were listening to a band play in a room or on stage, what do you hear?
+--------------+
|..............| S = Source
|......S.......| U = You
|..............|
|..............|
|..............|
|..............|
|..............|
|......U.......|
+--------------+
you hear the clear unaltered source music first(because thats the shortest path of the source to your ears) followed by the reflection of the room. The time between the two is determined by how big the room is, and the placement of the instruments. lets assume that the shortest reflection is from the back wall to U, being the first reverb reflection your ears hear. So the closer the source is to the back of the room the short the pre-delay time is, and the closer to you and further away from the back of the room the longer the pre-delay is. WOW ISNT THAT GREAT!!! but what difference does that make? well by timing the pre-delay on the reverb you can take your dry mix and layer it front to back in the room. If you set it up like a band you would usually place the drums in the back, with the shortest pre-delay, the backup singers or melody guitar in the middle, and the lead singer in front(closest to you, longest pre-delay). so now you have a stereo image that also has depth. cool huh? BUT, there is a problem. if you arbitrarily place the instruments front to back without any rhyme or reason you will end up with reverb hits that are VERY noticeable, and turning up the reverb just a little bit will make it sound swamped. SO WHAT ON EARTH DO YOU DO??!?!? easy, you time the reverb so that it falls in time with the song. WELL HOW DO YOU DO THAT?!??!?!?! easy, you figure out the length of 1/4 note(1 beat) in ms then just divide by two again and again and again. Your ear cant distinguish two differnt hits after about 20 or so ms, so you should start around there. Here�s an example of the reverb times i use on a 136 BPM track:
(in ms)
441.1 1/4 th
220.5 1/8
110.2 1/16 lead vocals or lead instruments (lead synth)
055.1 1/32 backup instruments (padds or stings)
027.5 1/64 drums (clap hi-hat, cymbals)
013.7 1/128 background stuff (ambient synths or noise)
006.8 1/256
mixing like this will let you drown the instruments in reverb without getting the sound swampy. But more importantly it adds non-conflicting depth to the song , as opposed to just left and right.
i dont know does that make sence?
the first time i did it to one of my songs, changing all the reverb times, and then pressing play, the song literally jumped out at me, the synths were in my face, and the drums were filling the room.
but with all that said, ferry corsten doesnt do this, so ... keep that in mind when making a track, this technique is used on major recordings and not necessarily on club friendly tracks.
and here is some timings for the reverb predelay at different bpm's.
I'm gonna cover the most usual bpm's (130-145).
if you want to doublecheck my math or count on a bpm not covered here the formula is: 60s/bpm (f.e. 60s/140bpm = 0,4285s = 428,5ms)
then to get 1/8 instead of 1/4 just divide with 2 and vice versa.
=========
BPM = 130
=========
beat - ms
1/4 - 461,5
1/8 - 230,8
1/16 - 115,4
1/32 - 57,7
1/64 - 28,8
1/128 - 14,4
1/256 - 7,2
=========
BPM = 131
=========
beat - ms
1/4 - 458
1/8 - 229
1/16 - 114,5
1/32 - 57,3
1/64 - 28,6
1/128 - 14,3
1/256 - 7,2
=========
BPM = 132
=========
beat - ms
1/4 - 454,5
1/8 - 227,3
1/16 - 113,6
1/32 - 56,8
1/64 - 28,4
1/128 - 14,2
1/256 - 7,1
=========
BPM = 133
=========
beat - ms
1/4 - 451,1
1/8 - 225,6
1/16 - 112,8
1/32 - 56,4
1/64 - 28,2
1/128 - 14,1
1/256 - 7
=========
BPM = 134
=========
beat - ms
1/4 - 447,8
1/8 - 223,9
1/16 - 111,9
1/32 - 56
1/64 - 28
1/128 - 14
1/256 - 7
=========
BPM = 135
=========
beat - ms
1/4 - 444,4
1/8 - 222,2
1/16 - 111,1
1/32 - 55,5
1/64 - 27,8
1/128 - 13,9
1/256 - 7
=========
BPM = 136
=========
beat - ms
1/4 - 441,2
1/8 - 220,6
1/16 - 110,3
1/32 - 55,1
1/64 - 27,6
1/128 - 13,8
1/256 - 6,9
=========
BPM = 137
=========
beat - ms
1/4 - 438
1/8 - 219
1/16 - 109,5
1/32 - 54,7
1/64 - 27,4
1/128 - 13,7
1/256 - 6,8
=========
BPM = 138
=========
beat - ms
1/4 - 434,8
1/8 - 217,7
1/16 - 108,7
1/32 - 54,3
1/64 - 27,2
1/128 - 13,6
1/256 - 6,8
=========
BPM = 139
=========
beat - ms
1/4 - 431,7
1/8 - 215,8
1/16 - 107,9
1/32 - 54
1/64 - 27
1/128 - 13,5
1/256 - 6,7
=========
BPM = 140
=========
beat - ms
1/4 - 428,6
1/8 - 214,3
1/16 - 107,1
1/32 - 53,6
1/64 - 26,8
1/128 - 13,4
1/256 - 6,7
=========
BPM = 141
=========
beat - ms
1/4 - 425,5
1/8 - 212,8
1/16 - 106,4
1/32 - 53,2
1/64 - 26,6
1/128 - 13,3
1/256 - 6,6
=========
BPM = 142
=========
beat - ms
1/4 - 422,5
1/8 - 211,3
1/16 - 105,6
1/32 - 52,8
1/64 - 26,4
1/128 - 13,2
1/256 - 6,6
=========
BPM = 143
=========
beat - ms
1/4 - 419,6
1/8 - 209,8
1/16 - 104,9
1/32 - 52,4
1/64 - 26,2
1/128 - 13,1
1/256 - 6,6
=========
BPM = 144
=========
beat - ms
1/4 - 416,7
1/8 - 208,3
1/16 - 104,2
1/32 - 52,1
1/64 - 26
1/128 - 13
1/256 - 6,5
=========
BPM = 145
=========
beat - ms
1/4 - 413,8
1/8 - 206,9
1/16 - 103,4
1/32 - 51,7
1/64 - 25,9
1/128 - 12,9
1/256 - 6,5
now that's one huge list
if you wonder why some of the numbers have decimals and some doesn't it's because the numbers are rounded down to 1 decimal when possible
enjoy
ask for reason reverb
I have reason. Reverb in reason no have ms-thing. But delay in reason haves ms-thing? Or is this ms-thing in reverb for reason users? Or how I can use it in reason reverb?
the regular RV-7 reverb doesn't have a pre-delay setting but the RV700 advanced reverb (reason 2.5) has the option
I look RV700 but I no find ms in there. No even in RV700->remote programmer. Can you helps me where I can find the ms in RV700?
when you expand the RV700 you get like a red window interface that shows the reverb more in detail. On the right side of the redish window there are like 3 or 4 knobw you can turn, ER->late, something else and the predelay...predelay is the one 
| quote: |
| Originally posted by Vizay when you expand the RV700 you get like a red window interface that shows the reverb more in detail. On the right side of the redish window there are like 3 or 4 knobw you can turn, ER->late, something else and the predelay...predelay is the one |
reason
Ok so I got Reason 2.5 and want to start learning how to use it... Where would a complete newbie like me start? All the tips n things are great for people who have a vague idea of what they're doing but I don't! What's the 1st step?
-=Dan=-
mkay there's basicly two things you should do.
1. Read the manual, not the whole manual in one piece but start of with reading about the sequencer, the rack and other basic things. Then go on and read about how to use the subtractor. (the reason manual should also have something like a starters guide if I'm not misstaken)
2. Read here on the forums, ALOT, not kidding about this one...it's important
And don't be afraid to ask questions but... REMEMBER TO USE THE SEARCHBUTTON before asking away
theese forums are really great, I'd say that they are the reason that I've learned so much anyway
hey guys,
ok so i went away and read the beginners guide and operation manual, and tried a few things posted here (as well as read an awesome subtractor guide on reasonfreaks.com) and I think I'm getting increasingly more comfortable with reason, but I got another question!
Anybody know how to get a really heavy 'hoover' sound out of the subtractor? Harder tunes aren't really my thing but it would be cool to know how to make one so I can tone it down a bit! Preferably something that doesn't dominate the bassier frequencies.
Thanks alot
-=Dan=-
PS - Thanks 4 the tips Vizay
there are many synths and soft synths like vanguard,etc. to give tracy leads and such but what kind do u use for the deeper, darker sounds like the lead up in avb - blue fear (a & n remix), marco v - magnitude and lsg tracks??
| quote: |
| Originally posted by DanBendel hey guys, ok so i went away and read the beginners guide and operation manual, and tried a few things posted here (as well as read an awesome subtractor guide on reasonfreaks.com) and I think I'm getting increasingly more comfortable with reason, but I got another question! Anybody know how to get a really heavy 'hoover' sound out of the subtractor? Harder tunes aren't really my thing but it would be cool to know how to make one so I can tone it down a bit! Preferably something that doesn't dominate the bassier frequencies. Thanks alot -=Dan=- PS - Thanks 4 the tips Vizay |
Fire and Ice - Souvenir De Chine
the lead synth in Fire and Ice - Souvenir De Chine sounds really sad
the arpeggio goes low mid high low mid high...
but I cant get the same sad sound =(
I have an yamaha AN1x, FL studio with some plugins, Reason
how should I do? =)
| quote: |
| Originally posted by Dancer I will also like know that very much. If yo� learn how make that heavy sound, please tell me too |
The Juno X2 should be capable of creating hard house hoover sounds, I've heard. But there doesn't seem to be any presets available anywhere of a hoover.
Btw, which synth had the original hoover sound?
hey kewlness can you put the pic back on
| quote: |
| 1. Get Synth 1 (free) 2. Use this setting 3. Too lazy to post a midi but basically the notes are G5 - G4 - F4 - D4 - C4 - Bb5 - A5 (2 beats)- Bb5 - A5 - G5 (2 beats)- A5 - G5 - F5 (2 beats) - G5 - A5 - D5 (4 beats) 4. Should sound similar to this |
theres a hoover preset that comes with flstudio for 3osc pretty close too with fx
| quote: |
| Originally posted by Trancevision My contribution to this will be the Reverse Reverb. I think you all know this awesome Reverse Reverb when some reverbing sound comes before the vocal samples. If you don't know what I am mean try this: Take a vocal sample which has no or few reverbe and reverse it in your Wav Editor. Then add a Reverb with a long decay. Reverse it again. Trancevision |
Thought this would fit in here. What's a good "default" to begin from regarding the main lead's EQ-spectrum? Where to boost, perhaps around 6000 KHz?
Can anyone give a good 'method' for creating a sound you hear in your head but aren't sure how to make?
I know that sounds really... well, dumb... but what process would you go through?
I.e., please say something like:
1.) find the right waveform
2.) Get a good freq/resonance
3.) EQ it
etc...
what order would you do it?
Or maybe it's not a sound in your head, maybe you're just playing around.
What are the amorphous rules? 
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