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With Reactor / Max / SynthMaster/ PD ... you can create any sound, no exception added. Thunder, rain, fire, wood block hitting a metal pipe, 'human vocal' synthezing, analogue synth modeling ... It "only" takes time, knowledge, experience and perseverance.

The best place to start your sonic adventures in these modular workspaces is a book by Andy Farnell. This book is written for PureData but it can be applied to any workspace that uses a 'visual' style of arranging dps modules.

Here's my attempt.

In order of inception:

• The kick is (obviously) just the kick. Put a small amount of bitcrush and a LPF to make it fit the mix better.

• The clap is the original kick sample pitched up a few octaves in Sampler with some envelope modulation to capture the 'click'. This was then resampled, the envelope was further tweaked and effects added to form the first part of the clap. The second part took this first part, applied some reverb, flattened, re-Sampler'd, pitched up, added some saturation and limiting. These two are played in parallel for the clap.

• The cymbals generally followed the same pattern as the second part of the clap, but at various pitches and with varying length reverb tails.

• The white noise riser used a looped part of the crash with an auto filter applied.

• The synth and bass both use a looping section of the kick's non-transient waveform, with various amounts of filtering, effects, and distortion applied.

• The percussive hit is the kick pitched up a few octaves to the point of tonality, then imported into Sampler with compression, EQ and reverb.

• Finally, the transition at the end of each 4-bar phrase is the second part of the clap mentioned earlier, pitched down, being modulated by Sampler's pitch envelope.

Hope you guys enjoy. Seen some great entries going around!

HUZZAH

https://clyp.it/tzbxb4su

http://i.imgur.com/EqN8qJj.jpg

Serum > Crazy wavetable generated through a single bell sample quanitzed and morphed to taste > distortion > reverbs > detunes > filter lfos galore

attempt no. 1

edit I actually recorded all the steps but like any of these it's basically just "fuck around with what seems like it might sound good":

1. audio rate loop in a sampler (I was planning to do granulating with Live stretch but it didn't turn out as well)
2. some distortion and stuff. dynamic tube? I forget but distortion was all Live on this one. Bounce.
3. load back in a sampler, add glide, play a figure
4. three way freq split, auto-pan/tremelo on the highs, phaser on the mids, boost the lows
5. boost the lows (sub) again, deep cut in the low mids (like 120-250Hz) , ott, dynamic tube, auto notch filter, valhalla room, glue compressor
6. make three copies, pitch shift one up one down, pan one left one right, amp sim (a very characteristic part of this sound) on all three deeper in the middle
7. eq to take out some harsh stuff and bounce
8. cut up the coolest bits and rearrange
9. valhalla room, vlad g's softclipper to peak at 0dB

could prob keep going with this for more movement but it has a character I like right now with the "rubbery" attack

K so. I think I'm stretching the rules but I loaded the snare into Harmor, reversed it, slowed it down then applied a ton of effects like filters, distortion, and harmonic shaping. Then I ran it through a bunch of phasers, more dirstortion, EQ and compression. I automated some of the EQ and added a reverb.

Even if you guys feel I broke the rules I still had fun making it oh well.

Here it is https://clyp.it/p22uzxu3

Stylophone Gen X-1

Hey Mike, I have been trying to accomplish this, but I can still hear the high hat. I first bounce the effected audio then i bounce the plain high hat with out any effects activated(Delay, reverb, distortion). I then drag the bounced files into each of their samplers , invert the dry high hat and play a note.

the hi hat still pierces through the mix.

Visual aid of what I've done

Audio might be loud!

Goddamit resampling is a huge part of my sound design. Anyways I made a big giant grandiose supersaw in massive with a modulated comb filter. I really want to sidechain and delay it up but I won't cheat!

https://clyp.it/1ll13ka5

I recommend SoX for audio processing. Since it's command-line, it's pretty easy to come up with a script, say, for all files within a folder.

Also their resampler is REALLY good and highly configurable

https://www.shazam.com/

open the app, play audio on computer, microphone on phone will listen to the song and identify it. so if person using the beat has the song distributed, shazam should be able to find it

Sounds like electrical interference. Balanced cables working in equipment that supports it should help, you can also use a ground loop isolator:

https://www.amazon.com/PYLE-PRO-PHE400-Eliminator-2-Channel-Outputs/dp/B00BARTW42/

If anyones curious about what I used. I got one pack of these and only used half of them! It got everything done in about 8 hours and it feels so much nicer to be in this room now. It’d probably take you a lot less time if you didn’t have to get up in behind the tight spots like I did.. I did it without moving the desk or the gear to make sure that the lengths were perfect when it was all done and in place!

While browsing around drumming books because of your post I stumbled on this one which I just bought. It seems like quality and because it is breakbeat it might bring out some inspiration to your techno grooves.

https://www.amazon.com/Breakbeat-Bible-Fundamentals-Drumming/dp/1423496337/

There are some great books out there like this one with dozens of patterns each in dozens of genres. They make awesome jumping off places and just practicing by putting these patterns into a drum machine or drum rack midi in ableton or whatever I've learned a lot and the beats I spontaneously come up with are getting more interesting to me. Recommend.

Electronic Dance Music Grooves: House, Techno, Hip-Hop, Dubstep and More! (Quick Pro Guides) https://www.amazon.com/dp/1480393762/ref=cm_sw_r_apan_i_A139MQFT7TE7CZYGZGPK?_encoding=UTF8&psc=1

Any way you could make the files downloadable so we can use it in other DAWs/samplers? A Free file sharing site is https://gofile.io/welcome

Just label the files C1_Soft, C1_Med, C1_Hard, D1_Soft, D1, Med etc etc. (if you have different velocity samples)

We would really appreciate it! I know it’s a lot of free work but at least it’s not a guitar with 6 strings and 24 frets ;)

Cheers!

Most definitely. It's one of those things where you can pull it all out and rewire it and it might go away. So much of audio is hella sensative to the lightest shit. I solved a similar problem with getting a usb shield. And it got rid of like 80% of my noise

https://www.amazon.com/iFi-iDefender-External-Ground-Eliminator/dp/B0849J33T9/ref=sr\_1\_3?crid=3CV7A3E7KKKXX&keywords=usb+ground&qid=1643848304&sprefix=usb%2Caps%2C333&sr=8-3

Clip: https://clyp.it/i0h3ku5f

Kick: https://clyp.it/re1rc1oh

VST's: Camelcrusher, Transient Shaper, DimensionExpander, and Mangle.

Used a lot of sampler, some granular synthesis, snare made with frequency shifter, neuro bass, and ask me anything if your curious.

This was the first time that I maxed out virus control with a single instance. Took awhile to print it without clicks and pops, but it was fun to try and create a sound without layering for once. Im basically using all 3 lfos (modulating the formant shift, filter 1, and osc index) while crossfading between the two oscs (done with automation) to introduce the low pitch formant wobble which was topped off with vibrato. Threw a sub osc on the bottom.

https://clyp.it/34c4xuny

http://i.imgur.com/Z1CCFa2.png

That was fun. This is just a Harmor 2-parter, one an organ with the harmonizer after the filter and some distortion that gives it a big reesy rumble beneath everything. I automate between that and a square pluck, also automating the pluck and some other little things about the sound.

https://clyp.it/1nhw2csr

http://i.imgur.com/C8Qxhze.png

Here is my attempt

I started off with a Deep Housish pluck and then I modulated the crap out of everything to make it a pad and then reversed the order. This is my first time posting in these contests so I wasnt really sure if we are allowed to use other instruments (I just used drums). Sorry if its not allowed!

This one I put through Serum because Holy City said I could. Serum output in the middle. Rest is basic resampling. Probably my favorite trick was putting the highs through LittleAlterBoy - pitch an octave down and formant an octave up. Also using the MS20 filter from the demo version of Cytomic's The Drop, adjusting the cutoff by hand. End result was going for a poor man's Noisia - Could This Be sort of sound.

edit: should note imported via FFT resynth, did a spectral morph between my favorite two frames for the wavetable

Doesn't Cubase's sampler track save the files? Not sure how versatile you need your sampler to be, but there's always Kontakt. Oh, and there's this little sampler called Grace, I think it's even free

What's so hard about

docker pull researchdeezer/spleeter

https://github.com/deezer/spleeter/wiki/2.-Getting-started#using-docker-image

Filter out frequencies which aren't simultaneously present in two inputs. Just saying it to myself without thinking, it sounds like a simple form of modulation, but I just can't seem to get it.

Personally, I'm trying to do it with the free-for-computers modular DAW SunVox. Which is about all I've got, because I'm physically disabled and can only use my phone (nexus 6) very well.

I guess I'm really looking for a description of whatever simpler operations make up the process that transforms the audio, to see if I can make sense of it and replicate it in SunVox. :V I may be in a little over my head.

Working with audio is done 99% in the daw or with outboard gear, most scripts outside of the daw would be quite impractical to use and would probably hinder the workflow. So scripts would have to integrate with the daw. The ability to do that varies from daw to daw. Except for vst, there is no standardized scripting platform between daws that I know of. That means that if you want to use scripting in your own workflow, you'd have to choose a daw that lends itself to scripting. Reaper, for example, is amazing in that regard, with a huge amount of great usermade scripts to learn from, from simple convenience functions to vocalign clones.

If you want to make stuff for others to use, you will have to acommodate their DAW. Depending on the daw, your only possibility is making VST effects. VST programming is a daunting task for an inexperienced programmer (without using 3rd party software like synthedit). A simpler way to go is programming JSFX effects. This is a way to program VST-like effects without having to focus much on interface or DAW integration. It is really simple to get results, but quite powerful. You can use ReaJS from the ReaPlugs package as a vst host to read JSFX files in any DAW. In Reaper, JSFX support is built in. The documentation will get you started, you will learn a lot from the JSFX files included with ReaJS, that you can read and edit to suit your needs. I think the saturation JSFX is quite instructive, since it achieves a lot with little code.

Good luck on your scripting journey!

depending on the DAW you're using and its 'built-in' effects that it comes with, you could build your own multiband compression fx (which is just one way out of many in order to achieve what you want).

you could split the sound that you want to be sidechain-compressed into three frequency bands by duplicating the sound and eq'ing the copies respectively. one copy will have a lowpass eq on it (let's say 20hz to 1Khz), the other one a high pass eq (3khz to 22khz) and the third copy a bandpass eq (1 - 3 khz). put a compressor on the bandpassed copy and set up the sidechain source. this way, the only frequency band that's going to be affected by your trigger sound will be the bandpassed signal. obviously, the steeper the eq's slope, the less your original sound will be colorized.

if you don't want to go through the hassle of creating your own multiband things, some DAWs ship with multiband fx devices - in that case, you could just put a compressor on the frequency band that you want to be ducked. or just buy a 3rd party plugin that is made for your use cases in particular.

custom multiband thingy built using bitwig's FX chain device and three instances of Pro-Q 2: https://giphy.com/embed/3o85xGDoni6YzSBgsw

At a glance the mic stand seems a bit over priced. The Onstage stands are fine and about a third of the price. https://www.amazon.com/Stage-MS7701B-Tripod-Microphone-Stand/dp/B000978D58/ref=sr\_1\_5?dchild=1&keywords=onstage+boom&qid=1624842237&s=musical-instruments&sr=1-5

Thanks for the guidance here, must've been such an interesting course, I'm jealous - was it a 3 year study of it?

Just had a look into this and definitely seems like the physical and acoustical underpinnings I'm striving to learn more about. Came across this textbook https://www.amazon.co.uk/Electroacoustics-Mendel-Kleiner/dp/1439836183?asin=1439836183&revisionId=&format=4&depth=1

Only problem is that I'm not sure I need to know every single pocket of given textbook to get to where I want, but wouldn't know what areas to study and to not study. Any suggestions on the kind of text I should be covering?

Do you know much about the DS textbook I mentioned - it goes over sound theory in 150 ish pages - do you think it covers the kinds of thing you're talking about?

Koala Sampler Andorid App This has some of the features you're asking, its a phone app. Even i its not what you're looking for its pretty dang neat

This is about the story of the sampler. I just noticed that there's currently no traduction available. Can you read French?

https://www.amazon.fr/L%C3%A9chantillonneur-Machine-instrument-Bertrand-Merlier/dp/2752103417

I have this one that I bought new from Amazon for my new Lenovo laptop, it works great but I never use it like I thought I would. I would sell it to you for dirt cheap if you'd like to use it. Just DM me

Alternatively, I bought this one as a gift for a producer buddy of mine I cowrite with who's laptop kept running out of ports, and he's loved it. Says it works great

Maybe this app will help (disclaimer: not used it myself). Looks like you can stream directly to your phone.

Alternatively, DLNA/miracast/plex?

Hopefully you can return it if it’s not working for you!

There’s so many things to try and fix this, but some things will work and some won’t. If your hardware supports balanced cables, as others said, using balanced could help.

Power conditioners can also try to help too, like this one: https://www.amazon.com/ART-PDS8U-Power-Distribution-Protector/dp/B072RCBKZX/

also if you place your studio monitors on a separate power strip from everything else that might help too. It’s really annoying to both isolate and mitigate this issue. Sometimes one of these things works and other times you have to keep trying different things until one sticks.

Have a look at this one.

I've been using AKG K240's for their spacious sound and mostly flat response. They are a little loud in the mid-to-high frequencies, but that's my only complaint after a couple years' use. They're pretty affordable too.

Along the same lines as Lemur, there is also TouchOSC. If you really like the idea of making your own stuff to use, there is also an iOS port/implementation of PureData, which is very similar to Cycling74's Max/MSP.

http://www.mobmuplat.com/ - iOS port

https://play.google.com/store/apps/details?id=org.mpd&hl=en - Android [mPD]