Making noise, how do you go about making a sound.

Discussions about anything analog, digital, MIDI, synth technology, techniques, theories and more.
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tyrannosaurus mark
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Post by tyrannosaurus mark » Sun Jan 27, 2008 11:16 am

Dirk wrote:I start by analizing how the sound in my head is made up.
Is it monosono or unisono, one or more oscillators, polyphonic or monophonic etc...
How does it develope over time. Analize how the attack stage sounds and developes, how does the timbre changes in the attack stage. Then do the same with the other envelope stages.

Doing this gives me a clear idea how to program the sound, and makes programming the sounds I hear in my head relatively eazy.

If you do this often, you can make complex sounds fast. And you don't have to waste time surfing through the often crappy and unusable presets.
That's an interesting way to make sounds, perhaps that is a good approach for someone reaosnably experienced in synthesis?

I only really program patches for specific parts of songs (that I've written using a piano or guitar or some other patch that isn't quite right). For example I might need a bass part, so I go to my previously tweaked bass patches and tweak some more until it fits the bill just right with the other instruments

Do you find you write the songs first, or make the sounds first?
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Dirk
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Post by Dirk » Sun Jan 27, 2008 5:45 pm

tyrannosaurus mark wrote:
Dirk wrote:I start by analizing how the sound in my head is made up.
Is it monosono or unisono, one or more oscillators, polyphonic or monophonic etc...
How does it develope over time. Analize how the attack stage sounds and developes, how does the timbre changes in the attack stage. Then do the same with the other envelope stages.

Doing this gives me a clear idea how to program the sound, and makes programming the sounds I hear in my head relatively eazy.

If you do this often, you can make complex sounds fast. And you don't have to waste time surfing through the often crappy and unusable presets.
That's an interesting way to make sounds, perhaps that is a good approach for someone reaosnably experienced in synthesis?

I only really program patches for specific parts of songs (that I've written using a piano or guitar or some other patch that isn't quite right). For example I might need a bass part, so I go to my previously tweaked bass patches and tweak some more until it fits the bill just right with the other instruments

Do you find you write the songs first, or make the sounds first?
[brag]I do know a bit more about synthesis than the avarage VSE forum member[/brag]. And I do have the burning urge to know how everything works.
For this method you got to have the idea first. And most of the time I have the tune in my head first. But when inspiration lacks, I just let chance make the decisions and turn the knobs relatively random. Then when I get a cool sound the tune flows from that. I also use hardware sequensers, witch have lots of chance build in, for melodies and harmonies. This is also usefull with lack of inspiration.
I do have 2 standard patches in my A6, because this synth is a bit complex, one for bass and one for pad sounds. All my other synths are much more eazy to program, most of them don't have memory.

Best thing to do is what your comfortable with.
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Post by Tyler2000 » Mon Jan 28, 2008 9:26 am

Stab Frenzy wrote:
Tyler2000 wrote:It's important to be comfortable with your synths and know how to get the sounds you want relatively fast.
Totally, nude programming is the only way to go! ;)

Like others here, I've got an init patch on each of my synths that I use as a starting point when I'm making a patch. Filter open, two sawtooth oscs, envs all set to gate, no modulation.
I use the same but with one square osc. on my ESQ. That's the only synth I need a basic patch on.

What does everybody name thier nude patches?

The one on my ESQ is called BASICX because there was already a basic saved to the synth.
so what do I put down here now?

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Post by Analogue Crazy » Mon Jan 28, 2008 10:57 am

I always start by setting the right waveform. Then i shape the sound using the envelopes. Then i tweak the filter, then the LFO.
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Post by JugJug » Mon Jan 28, 2008 2:30 pm

Almost always I start from blanks. Basically I work with concepts such as: "today, I'm going to do something with audio rate filtermodulation" or "make a few as different as possible sounds with 3 oscillators, parallel filtering and no modulation.""synced osc + any modulation" etc.... When I find some sweet spots, the patches are saved as starting points, and I apply other processing, having then sometimes completely different patches, but based on the same principle.

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Post by killedaway » Mon Jan 28, 2008 9:27 pm

Analogue Crazy wrote:I always start by setting the right waveform. Then i shape the sound using the envelopes. Then i tweak the filter, then the LFO.
this is how i do it as well.
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Post by Re-Member » Mon Jan 28, 2008 10:34 pm

I generally start with the basic wave form first, then see what effects to process that sound into. From there, I figure out amp, filter then LFO routings last.

A lot of the times, I need to figure out the effects first because it's easier to work with raw sounds. Trying to add effects to the end of a sound often results in a muddled mess for me.

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Post by ronP » Mon Jan 28, 2008 10:51 pm

.


Hi. Here is my basic approach:

I start by selecting a saw wave for OSC 1 and a square wave for OSC 2, or visa-versa. That combo, even raw, seems pleasing to my ear, and it possesses more sonic texture possibilities from the get go. I next shape the sound the way I want it to evolve over time, fiddling with both the Filter's and Amp's ADSR, and then I go to the Filter itself and LFO to add tone color and motion.

I, of course, will use Saw-Saw or Square-Square if called for, but when fishing for new sounds, I always start with the Saw-Square method.

:)


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Post by ColorForm2113 » Tue Jan 29, 2008 3:51 am

i either start from zero or if im trying to replicate a certain instrument i think about the charecteristic of that instrument and set everything without listening to it. sometimes its a horrid mess sometimes its a beautiful accident sometimes its right on, fun lil experiment too.

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