You mean something like this?

[[ LINK REMOVED ]]


Virus B + Fruity delay + SIR reverb = the daddy.

actually yeah, that sounded like the airwave pad which i am in love with. Unfortunately, i don't have a virus but im guessing the pad was made with two or more osc's with the saw wave, along with having them detuned. Does the LFO have a big part in it as well?

Those are the basics of it but its a far more complex than that.

The patch I built uses 3 oscillators per voice, all set to saw. Unison x5 with unison detune all the way up and panspread slightly. The second oscillator is detuned apart from the first quite alot.

Unison x5 = 5 voices at once = 5 x 3 oscillators per voice = 15 oscillators per voice.

I am playing that airwave melody using chords spanning 3 octaves so thats 3 notes at 15 oscillators per voice.

Whatever synth you use, you need some kind of unison because before delay effects and chorusing, this patch is playing back 45 progressively detuned and stereo widened saw waves. I used to not think the amount of saws mattered so much but after experimenting, getting that supersaw oscillator sound - you really do need to stack up a crazy number of saws to get close to the right timbre.

The pulsewidth of both oscillators is modulated using 2 separate LFOs positively and negatively in equal proportion. LFO clock set to 1/24. The second LFO clock set to 1/12.

The tuning of oscillators 1 and 2 are modulated using the first LFO.

All LFOs are set to triangle waves.

Additionally, a third LFO is modulating the pitch of both oscillator 1 and 2 positively and very rapidly. It isnt clocked. On my Virus B its 91 out of 127 and the amplitude is low/medium. You need this rapid oscillation to help fuzz the sound up.

This patch uses a 24 dB/Octave, 4 pole low pass filter with no resonance in series with a 12 dB/Octave, 2 pole low pass filter. Then the whole thing is mixed in slightly with a filter envelope. Sustain time is set to fall gradually and the attack is on both envelopes is high enough to remove the initial 'click.' Release time is long and coincides roughly with the length of the reverb tail that has been put on it (again on the virus).

Effects wise there is distortion on it. Specifically a rectifier with very low gain. Theres a chorus on there set to saw wave. The aforementioned reverb and 2x instances of Fruity Delay.

There was also alot of post EQ to make up for the deficiencies in the Virus oscillators - most notable of which is that they are not very bright at all. I still havent got the EQ right on and its a pretty slow process without monitors but hey...

A few instances of pro-53 will do the trick. Use saw waves, turn Unison on with analog set to 75%.

Take two sawtooths, detune them, +15 cents and -15 cents. Give it a long attack and release. Add reverb.

Oh eq the reverb so that the verb has more highs in it, so it echos out the hi freqs, that always sounds swell.

___________________
Thee Olde Ones LP
Check out my latest releases, progressive and psychedelic.

I always find 2 saws per voice isnt enough. It just sounds awfully thin. And a key part of the fuzziness of this type of sound comes from the rapid pitch modulation of all the saw oscillators.

I used to think 'nobody ever needs like 50 simultaneous detuned saws playing at the same time! poppycock!' but after several months of ongoing tinkering, I have come to the conclusion that unless you have some kind of special oscillator which simulates multiple detuned saws (i.e. supersaw on the JP-8000 and the hyper saw on the Virus TI), you need a fucking tonne of saws to achieve a similar kind of sound.

The only time I got the timbre down right was by rapidly modulating pulse width for both primary oscillators. In opposite directions. Ill post a sound test at some point in the next few days to demonstrate the kind of effect PWM has on this type of sound.

thanks for all of your input guys. Im starting to understand synthesis a lot better now. I'll try out some new things once I get home. We had a free day in class so i used it to check out the forums. Hopefully i'll get a sample up later on in my attempt with the knowledge i gained.

You DON'T need a ton of oscs to make a decent supersaw pad.
Here's an example of one I made using only 4 oscs. The synth is processed with distortion, chorus, EQ and reverb. I'm pretty sure something better could be made by just using 2 oscs on a synth with unison.

http://www.yousendit.com/transfer.p...B962A740C8E3437

IMO, if you start using too many oscs it will start to sound noisy, which isn't that good for pads.

quote:

Originally posted by Eldritch You DON'T need a ton of oscs to make a decent supersaw pad. Here's an example of one I made using only 4 oscs. The synth is processed with distortion, chorus, EQ and reverb. I'm pretty sure something better could be made by just using 2 oscs on a synth with unison. http://www.yousendit.com/transfer.p...B962A740C8E3437 IMO, if you start using too many oscs it will start to sound noisy, which isn't that good for pads.

If this is made with software synths, then you are the master. Lately I have been hearing tons of ugly softsynth-supersaw-simulations, this is nice for a change. What software/hardware synth did you use?

quote:

Originally posted by Thois If this is made with software synths, then you are the master. Lately I have been hearing tons of ugly softsynth-supersaw-simulations, this is nice for a change. What software/hardware synth did you use?

+1!

that is a really nice sounding pad!

it might be possible to make something similar with V-station. ill have a stab at it now...

___________________

My iTunes album
My dance-industries page
My myspace page

man you da man eldritch! yeah im pretty sure that reason 3.0!