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-- Exploration of Sound ( to all producers )
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anyone can tell me how to make those acids : http://members.home.nl/dmulder/how_to_automate.mp3
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| Originally posted by BIKKEL anyone can tell me how to make those acids : http://members.home.nl/dmulder/how_to_automate.mp3 |
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| Originally posted by RIPassion 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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| Originally posted by BIKKEL anyone can tell me how to make those acids : http://members.home.nl/dmulder/how_to_automate.mp3 |
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| Originally posted by everyMan Is this the kind of sound you search for : http://perso.wanadoo.fr/TranceDevotion/Draft2design.mp3 I posted the preset in vstation for these Outback FXs and the rest is BandPass/HighPass automation with a bit of resonance. |
Do a search! already posted the patch. 
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| Originally posted by everyMan Do a search! already posted the patch. |
what i ussualy do
For reverse reverb i take a vocal reverse add reverb and run it thru a granulizer and apply time stretching and then just raise the volume thru envelope and walahh u get that rising uuuhhh sound if u cut it just right in the granulizer like ATB did in not in love.
just take the sample granulize reverse and set the start time just right on the sample and add a little reverb and release.
and for phat leads that sound hard i usually use a good vst such as analog2digitals supersaw plus.
i then add the following effects to the sound i want the lead to be.
Reverb add eq set the lowers khz's at starting from top of eq in fruity.
45%
25%
40%
50%
45%
60%
down the eq and then some delay makes the lead have more feel to it but make sure not to letthe delay overun in your track or you will get that delay on your breakdown overrunning.
i like to sometimes use a little flange cuz it makes the sound raw.
if ur going the fm way with a plucky lead just make sure its crisp and clear and hasa bit of reverb and if u want delay.
analog's my fav and im not a big trance person i mostly do breaks and stuff but i like trance.
Hey. I was wondering how i would get the deep bass sound from slip friction - crazy. Preferably with a free fruity loops plug-in. I love that sound! I have a sample of the sound if people dont know what im talking about. Thanks
when you say layer your synths, do you mean layer the same synth with the same settings or layer two different synths or both?
How i make that ? ( sample inside )
sup
Yes, big question, how to make a PHAT Sound
I work with reason and i use AKAI pro samples (jp-8000, Nord Lead, Acces Virus )
This iz my [[ LINK REMOVED ]]
How i make that ? Simple
I choose:
*-2 samples of jp-8000 ( A2 notes ), 90% of volume
*-1 samples of Acces Virus ( A3 notes ), 53% of volume
*-2 samples of Nord lead ( A2 notes ), 53% of volume
*- + substractor ( my own patch )
All mix in NN-XT
If anyone has a questions, please write me: [email protected]
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| Originally posted by sm44 Hey. I was wondering how i would get the deep bass sound from slip friction - crazy. Preferably with a free fruity loops plug-in. I love that sound! I have a sample of the sound if people dont know what im talking about. Thanks |
uhh.........
someone tell me what the ranges are for low,mid, and high frequencies please?
only if you are a girl and if you make buttsecks with me 
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| Originally posted by Sonicstyle only if you are a girl and if you make buttsecks with me |
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| Originally posted by *InVeRs3* uhh......... someone tell me what the ranges are for low,mid, and high frequencies please? |
I am just starting out and I am clueless on how to begin. I read most of this stuff from page one. But I can't seam to make heads or tales of it. Which software are used in making all this stuff. Mayby if I can fool arround on the programs I will understand more.
Thanx for your time.
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| Originally posted by Nobody_Special I am just starting out and I am clueless on how to begin. I read most of this stuff from page one. But I can't seam to make heads or tales of it. Which software are used in making all this stuff. Mayby if I can fool arround on the programs I will understand more. Thanx for your time. |
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| Originally posted by wizniz i understand stuff but im pretty retarded so far. ive only ever had the patience to learn how to use the 3xosc and i must say... im glad i did, but all these other synths have too many knobs any of you guys able to recommend an easy synth to learn with? |
lol what happened to the thread?
I think this thread needs a summary and an update. Its 2009 and people are still asking how to make phat sounds with software.
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| Originally posted by Bondor "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. |
I've been used to using everything I have to it's fullest, since I virtually have no money to spend on hardware, I just use simple vst's to write all my tracks.
However, getting the PHAT sound, is something you can emulate on almost any virtual instrument.
When I produce a lead that I want to sound big, I use a variety of effects and tweaks.
~ Reverb Envelope
~ Release Envelope
~ a simple Flanger
~ a Stereo Enhancer
~ and a filter
( clicky ) <-- For the example sound file.
The file I included here is a little riff I made to demonstrate my usual phatmaking process. Because it's based on a variety of things, I let you hear the difference everytime the riff starts again.
Reverb Envelope
When you start the audio file, you'll hear the DRY lead, which is composed of 'two-note chords'. No fx on it whatsoever.
The second time you'll hear the riff, I added a Reverb envelope, and I set the decay on a short value (18ms in this case) and the predelay on 67ms. This is something like reverse reverb on the lead, but it gives you more control and you can play (automate) with the predelay time if you'd like.
Release Envelope
Third time you'll hear the riff, I set up a release automation
which increases over the entire riff. Adding the right amount of release to any lead gives it a 'bigger' feel. Add too little and the lead will sound dry, add too much and it will mess with the mix.
Increasing the release amount like I did here over a l�nger time span, such as in a break can also be used to build up suspense.
Flanger
When you hear the riff the fourth time, I set everything back to it's dry state, so you can recall the difference. Then I introduce the reverb again, and the sixth time you hear the riff, I enable the Flanger, which is set to:
delay: 20 ms
depth: 5 ms
rate: 0.508 Hz
phase: 123 degrees
dampness: 0.218
shape: Sine/Triangle
feed: 45%
NO INVERT FEEDBACK
invert wetness: YES
Dryness, Wetness all at: 0.00dB
Dry/Wet crossfade o_o
These setting qualify one flanger as a double one. You could also achieve the same effect with two flangers playing in the same Phase with eachother.
Stereo Enhance
After that, the riff goes back to dry and I start the Stereo Enhance automation, starting from Merged 100%, going to Seperated 100%. Usually it's enough already to keep it at Seperated 25% or something. But this way you can clearly hear the effect stereo seperation has. On the end of the riff I also add some increasing delay, so the effect gets even more audible when you seperate the sound.
The Filter
Something that is easily overlooked because it doesn't directly ADD anything to the lead, the introduction can also affect what you hear afterwards. Because technically, you only hear an infinite fraction of sound, and then your encephalon connects that "fraction" to the rest using your short term memory, and the auditive cortex. So introduction with a filter, in almost any way possible, will add to the dimension of the lead sound.
Next up, and the last riffs I basicly put everything together on the right amounts etc so you could hear how it all sounds. The lead sound itself is a basic preset from Vanguard
Cheers!
Nice, I will try this reverb stuff.
Awesome clip and work, Takkra
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