|
sounds like a P bass, played with fingers, with heavy distortion and a gate at the end
|
#
?
Aug 31, 2016 01:52
|
|
|
|
| # ? Apr 25, 2024 01:06 |
|
|
I've been watching one of the umpteen covers of the Stranger Things theme. https://youtu.be/xEclVvYKXWE Those chords he plays on the bottom synth at 46 secs, what would that be? I've heard it before loads of times and have always liked it.
|
|
#
?
Sep 5, 2016 13:46
|
|
|
BeigeJacket posted:I've been watching one of the umpteen covers of the Stranger Things theme. Not sure exactly what you're asking, but it's just a cliché synth brass patch playing the chords Em D C.
|
|
#
?
Sep 6, 2016 16:26
|
|
|
Your Computer posted:Not sure exactly what you're asking, but it's just a cliché synth brass patch playing the chords Em D C. Sorry, I didn't realise my post was so garbled. I was asking about the synth itself - a friend said he thinks it's a Roland.
|
|
#
?
Sep 6, 2016 21:06
|
|
|
The gear shown here from top to bottom is: Left: E-mu SP12 Casio CZ-1 E-mu Emulator II Before we go to the middle, the drum computer is a TR808 and the synth below it is a Juno-60. Middle: Moog Minimoog Roland Jupiter 6 Oberheim OBXa (likely, based on the position of the power switch). Right: Roland SH2A Roland TR707 some M-Audio controller keyboard The chords in 0:46 are played on the Oberheim. Laserjet 4P fucked around with this message at 23:23 on Sep 6, 2016 |
|
#
?
Sep 6, 2016 23:20
|
|
|
BeigeJacket posted:Sorry, I didn't realise my post was so garbled. Ah, gotcha. Laserjet 4P posted:The chords in 0:46 are played on the Oberheim. King of the cheesy synth brass.
|
|
#
?
Sep 6, 2016 23:51
|
|
|
What would I use to recreate the tone of Com Truise's bass guitar? It has a really nice attack but a kinda tame bottom and middle end. The tail of the notes sounds pretty trippy and airy. Somewhat reminiscent of some New Order/Joy Division stuff.
|
|
#
?
Oct 18, 2016 01:45
|
|
|
Posted here once before trying to make the bass at the beginning of this song... any ideas? https://www.youtube.com/watch?v=-dE5KBv4mKg
|
|
#
?
Oct 18, 2016 19:57
|
|
|
Any ideas on what this sound at 0:54 is? It sounds like some kind of saw synth layered with a xylophone maybe? It's hard to tell. https://youtu.be/6VlppKrjJC8 San Holo - Still Looking (DROELOE Remix) Cheers!
|
|
#
?
Oct 21, 2016 16:49
|
|
|
Guys, I have this one specific sound I'm trying to recreate that's been especially prominent in the old chicago house tracks. Two good examples (I think it's the same thing in both of them but I might be wrong): https://www.youtube.com/watch?v=Ps2Jc28tQrw (the melodic hook right after around 0:12) https://www.youtube.com/watch?v=0oM_9ca8hxE (it fades in at around 0:25~0:30 and goes on throughout the song; I notice that it fades in not only in volume but in frequency cutoff as well, that's about as much as I have figured out) As I've said, these are just two examples but it's persistent as hell in 1990s and early 2000s dance music which makes me think, are there any tutorials for that kind of sound? Or is it like, specific to some synth or something like that? It sound very similar across so many different songs. Thanks in advance.
|
|
#
?
Nov 2, 2016 00:01
|
|
|
It's a factory preset from the Korg M1 ("Patch 17 - Organ2"). There are probably a bunch of tutorials on how to reproduce it and more than a few samples/soundfonts out there. Frequently called "house organ"
|
|
#
?
Nov 2, 2016 08:36
|
|
|
How do I recreate the opening riff in Bright Eyes - Haile Selassie https://www.youtube.com/watch?v=0Rtf0xBq2fE I can't seem to hit the heavy repeats with my tremolo pedal. Is it a delay? A mix of delay and tremolo? Could it be a delay with a dedicated 3/4 setting? Thanks in advance for any insight.
|
|
#
?
Dec 3, 2016 23:43
|
|
|
How do I recreate the fuzzy organ sound in Dead Kennedy's Stealing People's Mail? https://www.youtube.com/watch?v=3jHQqcky_Aw
|
|
#
?
Dec 11, 2016 16:10
|
|
|
Oyak posted:How do I recreate the fuzzy organ sound in Dead Kennedy's Stealing People's Mail? My guess would be a Vox Continental with some overdrive/distortion, some ring modulation maybe? Paul Roessler played half the keyboards on Drug Me as well. The sound you want is so distorted I think you could just as easily pull it off with a Rhodes or an overdriven guitar with octave pedal, too. You can hear more of the band playing with Paul in this live recording at the Mab if you need to "study" it some more—he's almost entirely in the left channel. I wouldn't overthink it, though, I guarantee they didn't. https://www.youtube.com/watch?v=VB_kQ-r7QJ4&t=1712s
|
|
#
?
Dec 14, 2016 16:51
|
|
|
Misc posted:My guess would be a Vox Continental with some overdrive/distortion, some ring modulation maybe? Paul Roessler played half the keyboards on Drug Me as well. The sound you want is so distorted I think you could just as easily pull it off with a Rhodes or an overdriven guitar with octave pedal, too. I was listening to that DK song to see if I could recognize the organ sound, but its so heavily distorted that I don't even think I could distinguish it from the electric guitar. My ear is not that good.
|
|
#
?
Dec 14, 2016 17:58
|
|
|
MrSargent posted:I was listening to that DK song to see if I could recognize the organ sound, but its so heavily distorted that I don't even think I could distinguish it from the electric guitar. My ear is not that good. I wouldn't blame your ears, to be fair, the recording quality of DK records was poor at best for the majority of their career. They almost always recorded live (vocals included) and they recorded loud. No amount of remastering has removed the tin can quality from Fresh Fruit for Rotting Vegetables.
|
|
#
?
Dec 14, 2016 21:29
|
|
|
Misc posted:My guess would be a Vox Continental with some overdrive/distortion, some ring modulation maybe? Paul Roessler played half the keyboards on Drug Me as well. The sound you want is so distorted I think you could just as easily pull it off with a Rhodes or an overdriven guitar with octave pedal, too. Make sense...I tried just a distorted keyboard but it didn't have that sort of "fat" organ sound. I'll give your suggestion a shot. Thanks!
|
|
#
?
Dec 19, 2016 13:16
|
|
|
Oyak posted:Make sense...I tried just a distorted keyboard but it didn't have that sort of "fat" organ sound. I'll give your suggestion a shot. Thanks! Yeah, I think the "fat" sound you're describing comes from octaves being doubled up, which you can certainly do with some lever pulls on a Continental-emulating VST (I think there are some free ones out there).
|
|
#
?
Dec 19, 2016 19:27
|
|
|
How do I make ambientish pads? (e.g. the beginning of https://www.youtube.com/watch?v=7HITef7mIJ8) I know there are tons of presets everywhere, but I kinda want to know what to think about wthen trying to make my own. Mainly use Operator if it matters.
|
|
#
?
Dec 28, 2016 21:23
|
|
|
Lhet posted:How do I make ambientish pads? (e.g. the beginning of https://www.youtube.com/watch?v=7HITef7mIJ8) I would start with a single oscillator saw waveshape, bump the unison up to about 6-8 and add a bit of detuning. For the actual notes, you are going to want a chord shape that stretches across multiple octaves to give it that wider sound. I would then add in a LP Filter and start to play with the cutoff until you have a tone you like. Finally, I add in a Reverb Effect and push the Dry/Wet value up, then toy with it a bit. I am sure there are a bunch of other ways to do this but hopefully this helps push you in the right direction. Edit: If you are still having some trouble, I can create a pad sound in operator when I get home and save it as a preset to send your way. (Assuming you are using Operator in Ableton Live). MrSargent fucked around with this message at 22:00 on Dec 28, 2016 |
|
#
?
Dec 28, 2016 21:56
|
|
|
Use as many different LFOs at differing speeds as you've got available and let them modulate as many different parameters as you can by minute amounts.
|
|
#
?
Dec 28, 2016 22:25
|
|
|
Thanks for the tips. I think the issue I was having was not using any sort of unison/detuning and trying to just make everything somehow work by managing to get just the right FM combo. Also thought LFOing everything would be a pain, but then noticed Max (which I've kinda ignored) can do it very easily. I'll keep messing around and see what I can build up with these newly discovered tools.
|
|
#
?
Dec 29, 2016 01:51
|
|
|
Flipperwaldt posted:Use as many different LFOs at differing speeds as you've got available and let them modulate as many different parameters as you can by minute amounts. I'm interested in what you mean by putting an LFO on as many parameters as you can...like I would think it needs to be a little more targeted than that to widen the sound out right?
|
|
#
?
Dec 29, 2016 03:28
|
|
|
MrSargent posted:I'm interested in what you mean by putting an LFO on as many parameters as you can...like I would think it needs to be a little more targeted than that to widen the sound out right? Point being this: Lhet posted:Also thought LFOing everything would be a pain Setting up <1% separate pitch fluctuations for every separate oscillator to sort of emulate wonky analogue gear is something that can pay of massively in pads. Same for oscillator phase offset, oscillator panning and god knows what else. If I start thinking of modulation from scratch, in the abstract, I rarely get farther than "ok, let's have the filter frequency breathe rhythmically with the tempo" or something. I've seen tutorials doing weird poo poo like modulating the amount of unison voices to great effect or rotate through filter types; things you wouldn't just think of. If it's a knob you can twist and it does something interesting to the sound, it might be worth modulating. Use a good mix of slow and fast LFOs, synced and unsynced and/or free running, and a good variation of applying them moderately and subtly. It's always easier to dial back some modulation if it's too interesting and draws the attention away from the lead instruments than it is to intentionally tart up a pad that's static and boring. There's the old advice to turn down the reverb you're adding, up to the point you don't know it's there until you turn it off. That's sort of the margins within which a lot of fantastic things can be added to a pad with modulation.
|
|
#
?
Dec 29, 2016 14:18
|
|
|
|
| # ? Apr 25, 2024 01:06 |
|
|
Using Ableton's Simpler and/or Sampler you can also get really cool, unique sounding pads simply by loading in a sample, trimming it down to essentially just a short waveform, and then letting it go to town with retrigger and some proper reverb. Use gregorian monk chant, a Star Wars lightsaber, or basically whatever as your sample base. Keeps your pads from sounding like every other preset saw pad out there. edit: Here's one of the better examples of the technique. Pay attention to how he macros the loop window to get some really cool evolving sounds: https://www.youtube.com/watch?v=dSsWSHme0wc Siets fucked around with this message at 17:46 on Dec 29, 2016 |
|
#
?
Dec 29, 2016 16:16
|
|
