Originally posted by deadmau5
my take on the whole thing (at least for the producitons in question) were paired saws (about .2 ish semitones apart) and a single osc panned in the center with no detune but should be a tad louder than the panned osc's, reason for that is to keep equal tunning to the rest of the tuned elements in the track without cutting through the mix so much)
then pass that shiat through a verb, more or less washes it out a bit... bit of a decay, but nothing overly wet, about 20/80...... then a tempo synced delay with a crossover around the mids+ and time the tempo delay to the note retriggers... and for yup, more space, offset the delay by 2 milliseconds or so to make yourself a faux layer for justa tad more stereo depth (when using a stereo delay that is)
lastly, i tend to stay away from resonation in general... with analogue gear its almost always a bit dodgy on the keytracking, and with software it always tends to color the sound too much for my likking before it gets to an EQ on it's respective bus.
and lastly, i'd always level out the cutoff env's min and max levels before automating and going to town for a consistent sound in either a build / break. i never considered using a volume env (with the exception of a release time) but the "punchiness" comes from a cutoff envelope of sorts, (which is more pronounced after a bit of say 8:1 compression with a fast attack and 20ms or so release.
not sure what else i can offer in respect to that "saw stabby whatever" sound. But that was my approach on the whole sound. |
