So yeah, I thought I'd go through a couple of sounds that, you know, maybe people would like to know, you know, how to make them.
Something I've gotten to recently in a big way is, is sort of sound recreation.
So I've been hearing sounds in, you know, techno tunes or electronic tunes or other genres and really wanting to recreate them.
One of the main ones, a little while ago now, was this one, which is like classic sounds that D Romero has used a lot.
It's just a classic, electric sound.
It's just kind of...
It's like a, yeah, classic sort of electric chord sound.
And it's really all about tuning the oscillators in a certain way.
It's a fairly basic, basic sound.
So the way, the way I worked out to make this, this sound was to start with just a low...
Just a sort of wave.
So let's just take the glide off that.
So I started with a low sort of wave.
It just tunes one octave below the main note.
And then there's one which is an octave with it.
So you kind of get this.
And the more you layer, like, especially, you know, this works the same with any oscillator,
but you get this kind of phasey top end from this type of sound because there's no de-tuning on it whatsoever.
So all of the more you stack up these...
the saw waves, the more kind of slight, like, phasey in the tops you get.
There's a little bit there.
And the key thing really is to basically...
it's like a very wide major chord this sound.
So you add in another oscillator, which is another saw wave,
but it's tuned an octave and a major third above the keynote,
which, if you do it in semitones, there's 16 semitones, and you get this sound.
So that's like a major chord, but it spreads over the oscillators.
And then to get that kind of movement in it,
I've set up a macro in Massive to control the decay and the release of the envelope,
the volume envelope of the entire sound.
In this version, you can see this section is...
I use this a lot, I can't recommend this enough,
because what you can do is take loads of elements of the sound and map them all to the same knob.
So you're using...
one thing I've been doing as well is you can maybe map vibrato and pitch bend in the same thing.
But it's by using that one knob, the whole sound goes up an octave and has those vibrato at the same time.
So you can create a lot of different movement in it by just using one knob if you use this system.
So with this, if you discard the filter for a second,
you get quite a short note with a little bit of release,
and then I've called it Expander, the macro that I'm doing this with.
And then the more you bring it up, it's reached to the mod wheel, so that's what's controlling it.
The more you bring it up, the sound opens up,
and the release basically takes some time,
so it really opens up over time.
And the other way of increasing that effect, which is used a lot with these sort of sounds,
is to do the same thing but on a low pass filter as well.
So I've actually routed that and the master envelope, the whole sound to the filter as well.
So if you have the mod wheel down, have this thing down, you'll get these very short notes,
and then the more you bring it up, it also gets brighter as the sound gets longer as well.
And there's also a bit of glide in there, because that's often used in the end.
So yeah, that's my classic electro-stab.
So another sort of variation in the same principle is to basically just change the patch,
so there's a million permutations of tuning the oscillators in quite a wide, in a chord way,
but you can also kind of get this more like, a lot of old techy drum and bass tunes used stabs like this.
It's just a rough version, I've just knocked up,
but it's just a question of tuning the oscillators in a different way.
This one is tuned so that there's a minor note in there,
so it's effectively a minor version of the previous thing.
I've actually taken the minor note and put it, so it's just three semitones above the keynote,
so the highest note of the chord was the major note, and now it's a lot lower down the scale.
There's lots of room for scope and those kind of sounds, and loads of techno and electro people using that kind of sound at the moment,
so I've got really into working out how those sounds work.
