|
SuperSaw in V-Station (pg. 5)
|
View this Thread in Original format
| Trancevision |
big compliments DC , sounds awesome and thousand thanks for sharing :gsmile: . Really AWESOME, :whip: :gsmile:
Trancevision |
|
|
| BassAngel |
Yup, DC- hats off mate, this is going to help a load of people out lots, 'specially me - thanks for sharing this and not keeping it to yourself!
:toocool: |
|
|
| BassAngel |
Not sure if I'm doing something wrong, but when I load up the P8 patch it sounds nothing like the mp3. Neither does the Synth1 presets, sounds kind of weak and noisy.
P8 I literally loaded it in and played and it sounds wrong, synth1 I loaded the directory with the files in using the synths internal manager - again the three together sound weak. |
|
|
| DC- |
Thanks guys! Believe me when I say once you've programmed this sound before, re-doing it with other synths is a no brainer!
As for the external effects, I used a generic Waves EQ, Big Tick Hexaline Chorus (www.bigtick.com freebie)and SIR (freebie) convultion reverb, although with very generous settings. The delay is just a standard panning delay.
The reason why the patches don't sound like the mp3 is obviously because of the equalization. First you have to rolloff the highs, so a lowpass filter at around the 9khz mark will do well. The next step is giving a boost to the 2khz range, a fairly generous boost, at about 5db. The last step is 2 notches at 450hz and 200hz respectively. That will get it very close, as you may have noticed the equalization in the samples is still not quite the same as the original. The rest of it depends on what type of equalization your main bus uses, so these settings may work for me due to the way my mastering is setup, but may not work for anybody else. I do suggest that you play around with it and try to come up with your own results.
Note: Here are the versions of the individual synths that I've used.
Superwave P8 v1.5
Synth 1 v1.06
V-Station v1.0
Pro53 v3.00.013
Discovery v2.0 |
|
|
| ccpurno |
Hey DC, thank you very much for those eq settings!
Now I've got it almost sounding like the original.
I wonder: did you find out those eq setting by trial
and error or can you tell when you hear notch/ bandpass
filters in a sound? Or maybe you anlysed the spectrum
of the original...?
My EQ workflow for remakes of sounds is:
- Trying as much settings as possible with an eq with
as many bands as possible. Not very efficient
Greetings CCPURNO |
|
|
| DC- |
| A combination of spectrum analysis and using your ears works the best, obviously spectrum analysis can be thrown out of the window if the sound you're after is in a complicated mix as you never know what sound is producing what frequency, but in the case where the sound you want is isolated then it's a very good approach. If you've got good hearing, it makes for a very good analysis tool, but you shouldn't soley depend on it as many factors affect our hearing which may color the sound. |
|
|
| dj-sean |
| Good examples guys, like it a lot. What are the exact chords being played? I'll give this a crack with atmosphere and see if I can come up with anything nice. |
|
|
| BassAngel |
| quote: |
The reason why the patches don't sound like the mp3 is obviously because of the equalization. First you have to rolloff the highs, so a lowpass filter at around the 9khz mark will do well. The next step is giving a boost to the 2khz range, a fairly generous boost, at about 5db. The last step is 2 notches at 450hz and 200hz respectively. That will get it very close, as you may have noticed the equalization in the samples is still not quite the same as the original. The rest of it depends on what type of equalization your main bus uses, so these settings may work for me due to the way my mastering is setup, but may not work for anybody else. I do suggest that you play around with it and try to come up with your own results.
|
I guess this means that when people say EQ makes the difference to their pad sound, they MEAN EQ makes a difference to their pad sound! Very handy to see a real example of this; makes up for many gaps in my understanding. Up til now I've only really used EQ to chop bits to fit in my mix, not to actually seriously affect the sound - this is exciting and intriguing!
:) |
|
|
| ccpurno |
Another interesting point is the order of the FX
I now have it like this:
V-station --> EQ --> Chorus --> Delay --> Reverb --> Output
It's very interesting to hear how different orders
give different end results. It makes a big difference
for getting the right sound!
I also discovered that the two notches are probably part of
a so called "Harmonic Filter".
In elemental audio systems' "eqium EQ" the Harmonic Filter
instantly gives the right timbre..
Greetings CCPURNO |
|
|
| Seric |
I'm nowhere near a keyboard tonight, but if you're talking about Cygnus-X Superstrings.. I believe it would be.. ahh
C / D / E / C / G or B
A / B / C / A / A or A ?
I can't exactly see the last chord in my head
It's workable though. You'll get the octaves.
I forgot to quote whomever wanted the chords.. but yeah. My 2 cents.
EDIT: | quote: | Originally posted by dj-sean
Good examples guys, like it a lot. What are the exact chords being played? I'll give this a crack with atmosphere and see if I can come up with anything nice. |
|
|
|
| dj-sean |
The prominent notes are A#, C, C#, A# G# by the sounds of it, I'm just too lazy to spend the time figuring the chords out myself on the keyboard and want someone to just tell me =P
Edit: The detuning makes it hard to pinpoint, it's not full on note values, those I think the starting note is actually closer to A than it is to A#. |
|
|
|
|
