cool thread, cheers guys

quote:

Originally posted by Dj_Es-Dva nice one dude, i use lots of stuff like this as well, nice use of panning, i love doing un even pans hehe

thanks, the panning was done via the grain delay. i can post the patch up for anyone that uses Live 5 if they want?

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just Some random stuff

[[ LINK REMOVED ]]


Tell me what you think, about 6 random claps added, delayed, chorus, and some Side Compression, its weirdo

quote:

Originally posted by JustinMead just Some random stuff [[ LINK REMOVED ]] Tell me what you think, about 6 random claps added, delayed, chorus, and some Side Compression, its weirdo

Sounds pretty good, would make a cool perc line for a house track.

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Just made another one demonstrating Live 5's grain delay (which i really like using for effects)

this one is called heavenly screams:

http://dj_sea.sitesled.com/Heavenly%20screams.mp3

its basically a quick pad i made ran through a grain delay and a reverb, all i did was play a single chord (C minor) and the grain delay did the rest

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What does the pad sound like without the grain delay?

Just want to get an idea of the type of sound you need before the effects. Nice one btw

quote:

Originally posted by Derivative What does the pad sound like without the grain delay? Just want to get an idea of the type of sound you need before the effects. Nice one btw

it sounds like this:

http://dj_sea.sitesled.com/Heavenly...s%20no%20fx.mp3

(and yes, that is the same chord playing as in the FXed version, i set the grain delay to pitch up )

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what exactly is this grain delay? what would the equivalent in Fruity Loops be?

"Screaming ghost in a tin can?"
For Reason 2.0 or higher

1. Start by creating a Malstrom synth
2. Change OSC A waveform to Pink Noise and set its motion to -17
This will give it a metallic sound.
3. Set the Envelope of OSC A to Attack: 67, Decay: 113, Sustain: 0, Release: 91.
4. Route OSC A through Filter A.
5. Switch Filter A to BP12 and turn of the Env button. Set the Filter Frequency to 118 and Resonance to 18.
It will sound much more thinner now that the low frequencies are gone.
6. Set Mod A to Curve no. 10. Turn 1-shot on. Set Rate to 14 and Pitch to +63 (full).
The sound will now have an eerie pitch bend.
7. Insert a phaser unit after the Malstrom. Adjust it's settings like this:
Freq:78, Split:14, Width:58, Rate:0, F.Mod:0, Feedback:127.
This will cause a cool ringing sound.
8. Add a delay unit with these settings:
Delay time: 4 steps, Feedback: 89, Dry/Wet: 35.
9. Add a RV7000 reverb unit with these settings (Basically a long wet reverb):

EQ Enable: On
Decay: 118
HF Damp: 51
Hi EQ: 63
Dry/Wet: 63

Reverb Mode
Algoritm: Hall
Size: 39.6 m
Diffusion: 123
Room Shape: Two
ER->Late: 10%
ER Level: -4.5 dB
Predelay: 24 ms
Mod Amount: 80%

EQ Mode
Low Gain: -5.9 dB
Low Freq: 1000 Hz
Param Gain: 6.9 dB
Param Freq: 9752 Hz
Param Q: 0.3

And that's it!

Here's a sample of what it sounds like:

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(The note played in the sample is a G#4)

^Nice! really like that, your crazy at this shit dude :P

Lets make this the best fucking thread in the production forum:

reFX Vanguard Effects Tutorial PART 1:

Synthesizer Goblins:

(note: you can change this into a 'synthfall' swoosh/take off/wind effect by swapping out synced noise for white noise and reversing the sample)

No need to narrate instructions with this baby - It's screenshot time! Load up a blank patch and input the settings as shown below:



And here are the settings for LFO 2...



And LFO 3...



Heres what it should sound like with no external effects:

[[ LINK REMOVED ]]


Change the 3rd oscillator to the 'digital' waveform and the 1st oscillator to 'hi-pass noise' and drop the cutoff to 8.8khz and you get this EVIL DRONE:

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Up the AMP drive and lower the cutoff for more evilness.

Last edited by Derivative on Jun-04-2006 at 02:08