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Since I just spent the last hour trying to recreate this instead of doing homework, here's my attempt.

The final sound: https://clyp.it/if1x21aw

My sylenth settings: http://puu.sh/huKo2/76a7f13b1b.jpg

If you don't have sylenth, this is a basic rundown of what I did:

1 saw oscillator, with 5 voices, with a medium - low amount of detune.

LFO assigned to the pitch. A very slow, light, vibrato works for this too.

Lowpass filter, with heavy keytracking.

Very slight envelope with slow attack and slow decay that modulates the envelope.

And there you go. Have fun. I need to do my homework.

EDIT: Use reverb/compress/eq for more accuracy.

Sine wave

Negative Pitch Envelope and a pulse/square LFO on pitch too, set to modulate octaves.

The same or similar envelope modulating wet mix of the reverb

edit* actually the lfo doesnt need to be set to octaves try 5-7 semitones because I already have massive open https://clyp.it/4l0ytebn I didnt like try get the decay and reverb the same but this shows how it works just a bit exagerated

It sounds sort of metallic. I don't know how to do it exactly, but it sounds a lot like a plucked saw with the prism function from Harmor. If you don't have Harmor, what it basically does is it shifts the partials from the fundamental frequency. I don't really know how you would do this in any other synth, but I am thinking making something that just plays octaves and play 3 detuned voices.

It also sounds like it's layered with something, but it's hard to pick out and of course a lot of reverb.

This is the attempt I made which sounds pretty bad in comparison, but I think that is the basic idea of it at least.

Its a detuned super-square pluck with an arpeggiator. Played as chords.

https://www.mediafire.com/?g1oq4uoq2f2d355

Theres a quick patch to get ya started towards the sound. Notice the -.05 & + .04 cent detunes on the first two oscillators. The "pluck" comes from tab 4's envelope. Some ideas to consider: Mess with the pitch cutoff in the voicing tab to get the sound more detuned. also mess with the pan position to make the sound's stereo image wider. the 2 fx units on there can be changed to your liking. any questions let me know! cheers

I actually remade this exact sound a few weeks ago in a how to make this sound thread. Here's my attempt: https://clyp.it/ambvtijo

It's a triangle wave with a sine wave at -1 oct.

Then modulate the pitch to rise up.

Add chorous and EQ to taste.

Hey, as I'm sure everyone knows, the new Noisia & The Upbeats EP, Dead Limit came out recently. Seeing as my entire life started revolving around the song Omnivore from said EP, I need to figure out how to make the main sound from it.

I've looked up and down the internet but no one seemed to have recreated it yet. I don't even know the right technique to go about making it. (Is it FM? Wavetable? Additive plox need help).

I've made a fairly unsuccessful attempt in Harmor + some Patcher effect chains and even though I can get the EQ profile pretty ok, I just can't get the timbre right. Here's my <em>attempt</em>.

Here's the original (time stamped to where the sound is alone)

Got about as accurate as i could, knowing savant uses totally different methods/synths than me. I'll post it after i eat dinner.

Alright so heres what i got, https://soundcloud.com/scarp20/savant-bass/s-ney4M

I chose the lower pitched vowel bass that hits specifically at :49, but also around 42 so it must be what you mean. I'm not that good at dubstep sounds, but for somethin i made in 20 minutes I'd say i got decently close.

So the theories behind this? Filtering. Lots of filtering. That's how you get the vocal characteristic in your basses, by moving notches around properly in the spectrum. In this specific case, i used bandpass and a double notch running parallel ( which is essentially the filters being independent of each other, IE. you could have a low pass filter at 500 hz to keep the sub in a bass sound, then a bandpass at 2000hz to keep some mid-high range. If it were serial, where the filters run in a chain (one after the other) and you put a bandpass at 1000hz after a low pass at 500hz, the bandpass has no effect because the frequencies are being cut off at 500 before they get to the bandpass.), then into a band-pass and a band-reject running parallel. I assigned an envelope to the cutoff off the bandpass/doublenotch (inside massive for those 2, the band-pass/bandreject chain is external) and moved it around till i found a sweet spot.

Thats the majority of the theory behind why this works, the FX and everything else are just icing on the cake.

I'll post the patch if someone can link me to a good website where i can post it.

MASSIVE PATCH ---->https://www.mediafire.com/?5hc0nsec9ojoss6

ok so I had a go with my A4. This is the result, - link

I used a kick sound to start out, changed both main saw waves to tri. Osc 1 is -11 and osc 2 is -21. I then just shaped the sound using the amp and filter envelopes, get rid of the decay so it doesn't 'kick'. That was about it, added a lil reverb and chorus viola!

I also dumped the patch if anyone wants. Linky!

The rest of getting it so close was to setup the sequencer to have the right note length and a bit of slide!

I'm not the greatest at production, but it kinda sounds a like a pulse wave with the width being modulated to me.

I'm gonna go make it...

Okay here's the clip, I also added a square wave that is pitched down an octave. Don't be too harsh on it I made in like 10 minutes lol.

https://clyp.it/xlvnqevt

yo, have something similar. If you use massive i can post a preset file for ya, its basically just detuned saws with a lowpass and a bit of reverb. Add a bit more release to this patch and bingo.

https://www.mediafire.com/?oa9c4javjqb9yab

Whoa this was a trip down memory lane. Somehow I found 3.56 through a YouTube comment and sure enough, here's the synth settings:

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

And here is what it sounds like, synth kicks in around 20 seconds

https://clyp.it/iqoi5wvd

And if you will excuse me, I'm off to make beats with "take this out, take this out!" as main vocals, like 13 years ago.

sure. I'm just using a looped waveform I extracted from Zedd's Epos track https://www.mediafire.com/?00azm00e2ey5krg - all using a sampler, here it's one that comes with FL Studio - DirectWave. What DAW are you using?

Take a saw, put a five voice unison on it (100% panning, 35% pitch detune, 100 % phasing). Activate portamento and add a little bit of vibrato. Put a low-pass filter and automate it. It starts at 35% and ends up at 100%. It should sound like this.

Heyo, maybe you want to go in a sequencing DAW and place midi notes instead of trying to arp it. That way you´ll have way more controll over each note, and can adjust on the fly....

That being said that synth is propably more complex than it sounds, eskmo is a beast when it comes to sounddesign. Id try not only modulating the pitch but also filter cutoff and resonance. The base sounds fairly sine-ish for the most part but in the lower there are some strange pulselike harmonics so it might be the work of a wavetable synth, maybe its automated to be a sine at the higher notes and pulse in the low, maybe its pulse all the way and filters shape it to make it sound more round, its hard to tell....

If you need a free sequencing DAW try LMMS or the Ableton or FL demo.

If you need a wavetable synth try surge https://surge-synthesizer.github.io/ very powerful but you´ll propably need to watch some tutorials.

Im not a hardware guy so if you were hoping to recreate this on hardware synths, I dont have any advice sorry ;P Good luck!

Single-oscillator (saw wave) soft synth brass with a little bit of vibrato. Here's a patch for Surge: https://www.mediafire.com/file/x3f47mztllqd8cf/ClaireLaffutVeriteBrass.fxp/file

This is a wonderful song though, so thanks for introducing me to it :)

As has been mentioned elsewhere FM synthesis could nail this. In addition additive or ROMpler but I'd start with FM.

In Operator you can use the 7th routing algorithm (D, C and B module A). Set A to have a medium decay and release (to taste). Operators C and B share the same envelope, a much shorter decay than A. I've used ratios of 5 for B and 2 for C, their levels both around the -30dB mark.

Here's an image and here's the patch.

Open Culture has multiple interviews with Byrne, Eno, Weymouth and a few others. As far as I can tell, none of them focused exclusively on how any one song was made (with the possible exception of the big hit from their next record, Once in a Lifetime). Anyway browsing though those might get you started.

I've tried to recreate this sound, and I think my patch sounds almost exactly as the reference one (minus the glitches). There are 8 bars of the original tune at the beginning, and then there's my audio. Here's a screenshot that might give some instructions about setting things up right. I've used Piano One (it's free) to get a piano sound.

I'm not very good with leads; this is the closest I got. Maybe it's deceptively complex or something, but I don't think so.

To me it seems like a low-passed saw with portamento/legato, some reverb and unison, and has an envelope on the lp filter and vibrato that comes out the longer the key is held down. There's also a sharp filter at the beginning to get that "pluck" sound, but I didn't do so well with that. The method I used doesn't seem to get the job done the same way.

I used Harmor. Here're my settings. You can't see the envelopes I used, but they're not complicated. They just start closed and slowly open up over time.

Ian Stanley the keyboard player wrote it on a Roland System 100M modular synth, https://en.wikipedia.org/wiki/Roland_System-100M

He talks about it from 53.29 in this episode of Classic Albums https://www.bbc.co.uk/iplayer/episode/m000f8xc/classic-albums-tears-for-fears-songs-from-the-big-chair

this is not the original melody. this is only an example of the sample. VOLUME WARNING

I've used a super saw with random detune on three oscillators/voices. on top i put distortion and a slight phaser. > next i put reverb with no low freq and adjust vol to 15%/85% (reverb mix/dry mix).

with that you can sidechain and add the distorted bass and clap drums and really whatever.

im not really a hardstyle artist

Got pretty close, I think, with some unison, phasing, and a high pass. Extra distortion and compression to bring it out.

I used Harmor. Here were my settings. Fiddle with them if they're not close enough for you.

Visit this page, then tell me which sound is the lead.

http://www.whosampled.com/sample/285/Daft-Punk-Voyager-Oliver-Cheatham-Get-Down-Saturday-Night/

If you mean the pad they added, it's a sampled string pad playing chords, captured at a low bit rate in an Akai sampler.

so, I tried your thoughts, but my sound don't sound bright, I don't know, maybe there's FX, but I don't understand which FX used. anyway, pls look at pic.

https://snipboard.io/BQCqyh.jpg

Have you studied this information? http://www.csounds.com/manual/html/MiscFormants.html

A formant is a resonant band, or a group of such bands, in a sound's spectrum. For example, as the chart shows, an alto singing the vowel "a" will have peaks in the spectrum around 800, 1150, 2800, 3500, and 4950 Hz. Each of those bands has a unique bandwidth and amplitude (also shown in the chart).

Since formants are resonant bands, they can be created by filtering a sound with a bandpass filter. 5 bandpass filters in parallel, each tuned to the correct frequency, bandwidth, and level, could filter a pulse wave or other rich sound source, and create an emulation of that "a" vowel.

Use basic waves (mostly square, saw, triangle and sine), pitch slides, white noise... Take a look at Famitracker's Effects for an idea of what could be done on a NES. Or just make some samples in Famitracker and export them to whatever you use ¯\(ツ)/¯

Here's a YouTube tutorial that gets pretty close. Using that Massive patch, you can then put a macro on the phase mod and the wavetable position of OSC 1 to make the sound 'talk' like in the song (it sounds different every time it plays).

It should sound something like this.

It's a saw with a two voice unison (100% panning, 50% pitch detune) and a long decay (very 80's). Since it's kinda old, there's a lot of artifacts in the recording (there's a lot of noise, detuning and panning issues) which makes it really hard to make out what else is going on. There may be a band pass filter, but I couldn't make out what pattern it was following.

It should sound like this.

It's a heavily sidechained supersaw. Take a saw, put a nine voice unison on it (100% panning, 50% pitch detune, 100% phasing), add an EQ' to bring up the highs (it gives it that 'airy' characteristic) and put some reverb on it. Then, sidechain it to the kick exaggeratedly.

It should sound like this.

Notice: I did not make this, but I wanted to share it for you guys as I forgot the link to the video. This is probably faster for most people, anyways.

Here's a short preview of what it sounds like: https://clyp.it/ctxuuvxx

This guy's wrong, there is an objective best and it's been known for years. The one, the only, ZynAddSubFX does it all, babey, it's got additive synthesis, subtractive synthesis, freq-mod synthesis, subbass, effects, and that's just the known features. If you know where to dig into the cookie jar you can find the wavetable synthesis, a sampler, a sequencer, a ledger, a web browser, a spreadsheet, a nintendo emulator, it's like fuckin emacs without the thigh gap, praise God, it'll whisper careless nothings as you touch its many buttons and you'll find intimacy by your bedside as long as the laptop's plugged in. God damn is ZynAddSubFX a softsynth.

All of these things sound like a wavetable synth with a nice analog-style chorus and perhaps some tape simulation. However, since there is (seemingly) no modulation of the wavetable's position (this would cause the timbre to change) anything with a single cycle should do the job as well, and I'm fairly sure I'm only hearing a single oscillator, too.

Of course, just saying "wavetable" doesn't help much - you need to figure out which waveform we're dealing with. It sounds rather glassy, as if it originated from an FM synth. Start with two operators and set these to 1:3 or 1:5, then add a third operator at 1:2 or so. You'll have to tune the ratios by ear. If you're using Surge, you can try both approaches. If you look at the waveform's shape, it should not have any hard edges - just squiggles.

Otherwise I'd get myself Waldorf PPG Wave 3.V and try them one by one until I found it. That approach can work for Surge, too.

The way to learn FM synthesis is to start with 2 operators. Having 6 operators means that you can view it as a "3 oscillator" synth (with a pair of operators acting as an oscillator) - or as a "2 oscillator" synth (with a trio of operators acting as a more complex oscillator).

Compared to subtractive, the thing is that those oscillators also are responsible for filtering - that is, controlling the frequency response over time.

With just 2 operators, there's already a large variety of timbres to discover - every tuning results in a different character but gradually things get more "glassy", so most of the interesting parts are (IMO) going to be found between 1:1 and 1:8 (1:8 is that the frequency of the modulator - the operator on top - is 8 times that of the carrier - the operator on the bottom).

One thing that FM does that subtractive doesn't is that it's suited much more towards this kind of "component" building. Just like a kick can be seen as consisting of 3 parts - the sub, the oomph and the click - you can treat other sounds in the same way, with a transient and a body.

A harpsichord has a pretty bright attack. That's the transient. It can be made by one pair of operators with pretty high tuning and a short pluck envelope. It also has the "body" - which is the part that takes longer to decay, so you can use lower tuned operators for that, but with longer envelopes.

That's how you can approach things. For brass, you also have a body and a transient, but the transient is basically the moment just before a clear tone occurs since there's no standing wave in in the instrument yet. It's also not as bright.

If you have Ableton Live, Operator is a really great FM synth. Dexed is great as well, but the envelopes are anything but intuitive. For simpler 2-op and 3-op patches, https://surge-synthesizer.github.io/ is really great as well.

All these threat analyzers count the number of downloads. Surge just got a new version. If you downloaded it from the official website ( https://surge-synthesizer.github.io/ ) there is no issue. Try the older 1.6 release - you will not get a warning, most likely.

FWIW I heard that this happened with the latest release of Serum as well. You have a new executable with a new signature and the threat analyzer considers it suspect until enough people have installed it and didn’t report issues.

1. Get https://surge-synthesizer.github.io/ (or tell us which synth you'd like to use for this). If it doesn't matter, you might as well pick Surge :)
2. You start with an initialized patch. This is a saw wave. You need a sinewave.
3. Click on the dropdown that says "CLASSIC". It allows you to choose between oscillator models. One of these is Sine. Pick that one. You can also choose "Wavetable", because some of these start out as sinewaves.
4. Set the Attack and Release sliders in the AMP EG section to something that is not entirely 0. Start with 10% or so.
5. Add a short reverb effect. In Surge, in the top right of the plugin window, you see several boxes; a group of 6 and a group of 2. From the group of 2, pick the top one. Then, in the dropdown below, choose a reverb to taste, and set the mix amount (bottom right of the plugin window) to about 10% at most.

Done!

You should use https://surge-synthesizer.github.io/ .

Of course this can be recreated! The good part is that you can pretty much copy the settings you see in the screen at 1:25.

To get the pitch rise, modulate the pitch of the oscillators with the envelope. It's best to use negative modulation for that - normally an envelope causes the pitch go up, then down. By setting attack to zero and decay to half a second or so, and using negative modulation, the sound gently rises from a low pitch to the actual pitch (and then it stays there). Since in this screenshot you can't see the modulation matrix, you'll have to take my word for it that that's what's being done here :)

For the waveforms, the video shows that oscillator sync is being used, and both oscillators are run through a lowpass filter. Surge has this sync slider as well, and of course a basic triangle waveform.

Add a bit of chorus to top it off, and you should get pretty close.

Most plugins will have a so-called "init(ialized) preset". This sets all the knobs to a position that's kind of like a blank template. Any effects are disabled. The sound's parameters are set so that you should hear something when you press a key (and the sound stops when you release it). This also makes it suitable for testing whether anything works well, because you know you should hear a sound rightaway.

If a synthesizer has multiple oscillators, all of them except for the first will likely be muted/disabled. The waveform for that oscillator tends to be a saw wave (for FM synthesizers like Sytrus, it's a sinewave). This is a bright, somewhat nasal waveform that's used for a lot of sounds. Additionally, a good starting point would not be Sytrus but Surge - Synth1, which is a free synth that gets also a lot of recommendations has an init preset is not that suitable)

When you follow u/dagojay 's instructions, it's best to start with something like that.

As for the pulsating effect, I think it's a compressor. Sidechaining on a compressor can reduce the volume of a sound on the basis of an incoming sound; while it's more effort to set up, it's a technique worth learning. Not all synthesizers allow you to change the waveform of an LFO, and if you want to have a sound that drops in volume faster than that it recovers, sidechaining is your friend.

Additionally, since several other elements of a track tend to be sidechained (and most often to the kick drum), just not playing any kick drums will let each instrument sound at its full volume. This may be easier than switching off the LFO in some cases, because it only requires you to change a single thing (vs drawing automation lanes for all LFOs of all instruments).

That's because it's not a Serum preset :) The .fxp format is the generic "VST Preset" format that many software synths use - Sylenth uses it as well, for instance.

I can remake the preset so that it's for Serum, but for you, the following would be faster:

• Download and install Surge: https://surge-synthesizer.github.io/ (it's free!)
• Open Surge in your DAW (or otherwise suitable plugin host)
• Navigate to "Menu"
• Choose "Data and Patches"
• Choose "Open User Data Folder"

Create a new folder (for instance "FamousSounds") and copy the preset into this folder. Surge *needs* a folder structure to find patches; putting them directly into the user folder means they can't be found.

Then:

• Restart Surge, or choose "Rescan all data folders".

You're hearing two distinct sounds on top of eachother. The first is a square wave pluck, with a very short pitch envelope that acts as a transient designer to give a sound a more pronounced attack. The second would probably be classified as a musicbox - a short, bell-like pluck. There's a bit of a delay on the musicbox - I guess that's done to make it more obvious that the sound is included.

Here's a Surge patch with both! Set the mode to "Dual" to hear both the music box and the pluck, and set the mode to "single" and select Scene A to only hear the pluck.

https://www.mediafire.com/file/ll4qqpsrw8irvke/EDMSquarePluckMusicBox.fxp/file