Now, when we do that really quickly, I’m gonna set to about four or five milliseconds, that drop in pitch starts to sound percussive. I’m playing kinda short note so, Here is what sounds like if I hold the key down. And with a really long decay, here’s what we get. To get that kick sound, what we’re doing is we’re just starting our pitch up really high and dropping it really fast with a mod envelope or in this case, a pitch envelope. Now you not gonna to really be able to hear it at all. So it’s a really, really low pitch C negative one. So here’s what it sounds like just as a plain saw. Now, I’m gonna reset this so we can design it from scratch. But you can really use any pretty much any synth. So we got a kick snare and a hi-hat all synthesized in this case using Primer. If you are overcome with an urge to create and share your new drum track, join us in the land of forum posts.ĭrums. Well today’s your lucky day! Also, that’s a very specific thought you had. And then, ambience, and I just use their preset called ambience for this, adjusted the dry/wet.Have you ever thought to yourself “Man, it would be awesome if I had an 8-minute video that shows me how to synthesize a kick, snare and hi-hat beat from scratch”? The drive is cranked all the way up, and you gotta keep in mind that their volume here really matters the higher the level going into this, the more distortion you’re gonna get, so, you don’t want too little or too much.īack it off, if you really wanna make it nasty, but I like it right around here. I like it there, and I widened it as well. I like this because it allows you to kinda put in the frequency spectrum where you want that distortion. I went with a falling pitch and took this up to about 46% and then I just elongated the decay, so we just kinda get a Okay, so there’s a basic sound, but it’s not nasty enough, so we bring in vinyl distortion. This is simple enough you can go with a falling pitch or rising pitch. So, we got some growl from here, we got some saturation distortion from the filter drive. We’re looking to get aggression from wherever we can. Without that, all right, still growls, but that really pushes it, saturates it, it sounds nice. However, one reason I like this OSR is because it gives us filter drive. Envelope ’em out here I set it to almost halfway. So, this is giving us that wow, right? We set a really low cutoff and our envelope has a pretty quick attack, the wah part and then a slow decay, a wow, just like that. Now we wanna shape it and do things to it. Now, we’re gonna do it again with this third operator down yet another octave. So if I bring in this second operator, I set it to saw 64, I liked how those two interacted.Īgain, you can experiment with the waveforms you want. Why? Well, ’cause that’s where our growl comes from. I like having this a zero it helps me, you know, understand how these are interacting a little bit better ’cause it’s all about the volumes of the different operators.Īnd I pitched it up to two ’cause that’ll allow us to put an operator one octave below and then yet another operator one octave below that. We want something nice a bright like that, and I adjusted the level all the way up to zero and turned the main volume down. I’m gonna deconstruct this, turn everything off. There’s a lot of ways to do this so here’s just one way. They all sound different because of the different wave forms used, different distortions used, you know, whatever. It’s funny cause Synths don’t growl! You’re thinking of lions, common mistake.įeel free to talk amongst yourselves in the comment section below. This week is all about Frequency Modulation and the giddy fun that comes with making a synth growl. Look at me! I’m posting about #PatchFriday on the blog!
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