Hi all,
Just a quick question regarding synth programming basics.

I'm having confusion regarding a few things.
I guess once this clears up it'll apply to every synth I use, so for current purposes I've been using the Sylenth.

Anyways, my question is:

a) Let's say I'm programming a two or three layer bass; sub, mid & high.
How does the cutoff frequency for the oscillators relate do the actual eq'ing you do for that particular bass sound?


Example sub-bass:

Osc A1: Saw tooth
Octave: -2

Osc A2: Sine Wave
Octave: -1

Now, the two oscillators are sent to the Filter A (24 dB), type LPF
Here I have the cutoff frequency set to about 20 Hz.
Further more, the master filter control section I've set to 50 Hz.

Modulation envelopes are set with minimal attack, a little delay, moderate sustain & quick release and are modulating the cutoff of A.

Now, does it mean that if I'm programming a sub-bass, that filter A & the master filter control HAVE to be set to a low value or is this merely coloring the sound?

How does the actual EQ of this sub-bass sound relate to the filter settings mentioned above?

Do bear with me if this sounds a bit confusing.

I can illustrate with a fxp file if that's easier.

Thanks!

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Spacy dreamer

quote:

How does the actual EQ of this sub-bass sound relate to the filter settings mentioned above?

This appears to be the main thrust of the question. How does the EQ relate to filter?
I'm afraid I don't understand what you're trying to describe.

When you say EQ, do you mean the frequency components within the sound, like what you'd see in a spectrum analyzer? Are you asking what specifically the filter is doing to the frequency composition?

Yes, I do mean the frequency components with the synth and not the external EQ applied to the synth.

If these frequency components are set to a higher value, say 200 Hz(assuming this is meant to be a sub-bass sound), will this make it more of a mid-bass rather than the original intention of the sub-bass?

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Spacy dreamer

Well, there's a lot of ways to go about cooking a bass sound.

One sound can have many harmonic components, but having more than what you'd intended isn't really a bad thing. Frequencies are easy to reign in with EQ and such. What is a bad thing is when, at the start, it entirely lacks a component you need. For instance, you have a saw bass, but there's not enough low end of the flavor you want. When I'm making bass sounds, and I run into that, what usually fixes that right up is adding a sine or other wiggly form, turn down the volume of the other waveforms in that synth if needed. Problems mostly solved there, usually...

But your question, in the context you present it, well I'm not sure how to address it. Sounds like you're doing a lot of unnecessary work, separating bands when they would do just fine lumped together in the same synth, assuming the right waveforms, balance, octaves and whatnot were used.
But then again, I don't know what you're going for. *shrug*

Keep your work saved, but consider do a fast-paced do-over on that sound design. I'll bet you can basically accomplish whatever you're going for with 3 oscillators and 2 filters, if not less, in the same synth.

quote:

Originally posted by varun Yes, I do mean the frequency components with the synth and not the external EQ applied to the synth. If these frequency components are set to a higher value, say 200 Hz(assuming this is meant to be a sub-bass sound), will this make it more of a mid-bass rather than the original intention of the sub-bass?

Its really got more to do with the actual note being played and what octave its in. The filter sort of follows from there, especially if you have keytracking sent to the filter (which you should).

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quote:

Originally posted by MOK For instance, you have a saw bass, but there's not enough low end of the flavor you want. When I'm making bass sounds, and I run into that, what usually fixes that right up is adding a sine or other wiggly form, turn down the volume of the other waveforms in that synth if needed. Problems mostly solved there, usually...

I would advice against using sine waves for basslines. A filtered square(pulse) will sound much fatter because of the added harmonics. Even a triangle wave is much better than sine.
The secret behind most of the fat Virus bass sounds is actually the sub osc, which is a -1 octave square (can be switched to triangle also).

In a situation like the hypothetical I described, where the texture's there, but it lacks enough bass, I usually don't favor a square for the very reason you described. When I add a lower octave square(any octave, for that matter), it affects the overall texture, the feel of the patch. The square's signature sound can be heard pretty easily. Often times I want it to stay relatively the same. Good candidate for a sine.
Different tools for different situations. *shrug*

Cheers to all for the replies

Anyways, rather than trying to explain what I was after, I figured it'd be best just making a sample and let everyone listen and point out what's ok and what's not.

Here's a short sample of something I've been working on.

How does the bassline sound?

Thanks!

Sample Linke 1


[[ LINK REMOVED ]]

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Spacy dreamer