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Rowan Morrison

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6 hours ago, BedroomBusinessman said:

Really enjoyed that, Dopplereffect would be proud. What kind of set up are you using?

 

Was nice he used the "white noise" sample over my track before dropping it in.

Set up is just Reaper with some VST's and samples. Everything is "in the box" with a self built gaming rig. 

 

I think Vim is on point with that kick though. Its driving the track so it needs to punch above the bass a touch more.

As is, its on the same level and i only lightly sidechained it (thats where you use the kick to duck the level of the bass). I think its giving something like  -1db

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Go easy because these are the pretty much the first "compete" tracks I've made in literally a decade, but I stuck a couple of fairly chilled synthwave type tracks up on SoundCloud.

 

Constructive criticism appreciated.

 

 

 

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On 13/03/2018 at 20:17, Dimahoo said:

 

"white noise" sample over my track

 

I made you a track: mixes yourself, an Artpop sabotage and Rebirth software parody with: Half Life, Half life 2, Tempest, Tempest 2000, Hornby, Madonna and jean michael jarre. Presumably this ends up being rehashed by Zedd, Kylie and Justin Timberlake at some point, so you'll hear it like movie trailer 3 minute compression anyway.

 

 

 

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On 3/14/2018 at 22:24, Blunted said:

Go easy because these are the pretty much the first "compete" tracks I've made in literally a decade, but I stuck a couple of fairly chilled synthwave type tracks up on SoundCloud.

 

Constructive criticism appreciated.

 

 

Constructive critisism is that The City Above sounds depressed, but I find this interesting for being different. It's like a story in which Deckard from Bladerunner says no to the police chief and goes for a cheeseburger... so for once, I have no idea where the story goes. What will he do next?

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On 3/22/2018 at 15:32, maryliddon said:

Feeling a little empty of inspiration so I just did a beat over a great big sample. :)

 

Interesting. It makes me imagine a Texan boy left in a car with no windows open, out in some remote Walmart carpark. He tries to keep sane by playing Warioland but half passes out and then his dog, which is actually a local coyote that learned to talk english in occasional howls starts trying to lick his face, but confuses him with the Gameboy out of heat insanity and starts trying to eat the plastic. But then the car goes dark as a giant robot coyote eats the car like Jurassic Park. And the kid trips out on the radio left on... waking up to discover that he's really Tom Cruise having a midlife crisis in some remote desert whorehouse he basically detests, and just sits giving it evil stares from half a mile away sitting on his car roof.

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Just learning FLS and the first project was 30 second piece of RPG Town music - my first outing, I don't think I'll be competing with you trendy people and your cool synth-music for quite some time! :lol:

 

 

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On 24/03/2018 at 16:27, centurion said:

 

Constructive critisism is that The City Above sounds depressed, but I find this interesting for being different. It's like a story in which Deckard from Bladerunner says no to the police chief and goes for a cheeseburger... so for once, I have no idea where the story goes. What will he do next?

 

Thanks. I think :lol:

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Pretty much similar set of responses in the programming learning thread. I'd engage with it but can't tell if it's a load of nonsense or I'm too thick to understand :D

 

Got a tr8-s, did a live jam

 

https://soundcloud.com/gyratory/live-jam-tr-8s-octotrack

 

Did some  beeping

https://soundcloud.com/gyratory/loop-a-day-galax

(got to remove that horrible low rumble all the way through)

Playing with Renoise, not sure if it's my sort of thing


https://soundcloud.com/gyratory/chumpamatized

 

 

 

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Some more electro...with detroit pads. Not expecting airplay with this one as its a little lighter in tone.

However...i have a couple of more which are coming along.

 

 

 

I like that Galax track maryliddon. Seriously thinking of buying a hardware analog synth now.

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yeah, I took them all down. I keep reinventing stuff.

Better mixes or newer tracks or tracks that just don't work for me. I'm working on 3 electro tracks at the moment but...in small doses and i'm changing the what i write.

 

Incidentally my "Pylon" track did get played out live in the Dam, against a huge mix Dave did (quite close to Cybertrons 'Clear'..yay woot!). And he posted it too....

 

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Synth guys help! Can someone explain to me what the following knobs do and how they relate to each other? I've never quite figured it out despite using them quite a lot:

  • The ENV Amt knob in the Envelope section
  • The ENV Amt knob in the Filter section
  • The KBD Tracking knob in the Filter section

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14 minutes ago, mindgames said:

Synth guys help! Can someone explain to me what the following knobs do and how they relate to each other? I've never quite figured it out despite using them quite a lot:

  • The ENV Amt knob in the Envelope section
  • The ENV Amt knob in the Filter section
  • The KBD Tracking knob in the Filter section

 

Env amount sets the influence of the envelope on the relevant section. Knob 5 most likely sets the envelope depth to the VCA when the switch below is set to Env. So - if the switch is set to Gate, the sound will simply start when you press a key and stop when you let go - the VCA is simply opened by the gate that's triggered when you press a key. This is how organ sounds tend to work. If you set the switch to Env, pressing a key instead triggers the envelope, and that controls the VCA - how much effect it has on the VCA is set by the Env Amt knob (Sustain can also have an effect on this, depending on the patch).

 

I don't have a MB, but this might demonstrate how it works: set all the env sliders to their minimum, and then set decay to around the middle. Set the switch to Env and turn Env Amt all the way anti-clockwise. Play a note and (if I'm right about the MB's setup) you shouldn't hear anything, because Env Amt is all the way down and is therefore letting nothing through to the VCA. Keep playing the note and turn Env Amt clockwise, and you should hear a decaying note that gets louder as you turn. Here, Env Amt is sending an increasing voltage to the VCA, shaped by the envelope. When you hit a key, the VCA opens up to the level set by Env Amt and then drops down to zero at the rate set by the Decay slider.

 

So basically the purpose of the Env Knob is to enable control of how the envelope affects the VCA, rather than going all out. If the Microbrute was velocity sensitive, how hard you hit a key would be equivalent to how far clockwise the Env Amy knob is set: harder = louder. You could simulate velocity sensitivity by twisting the Env Amt knob clockwise when you want to play a louder note (or while a sequence is running, for example).

 

Same goes for the Filter Env Amt, except it's affecting the cutoff frequency rather than the VCA. But note that Filter Env Amt is bipolar - turning clockwise adds voltage to the cutoff shaped by the envelope, and turning clockwise subtracts it. So when starting a patch, you usually want it at 12 o'clock.

 

Keyboard tracking will adjust the filter as you play higher notes. It adds voltage to the cutoff frequency as you move right, making higher notes sound brighter. This is a common synth feature, because many 'proper' instruments (like pianos) naturally behave this way. If you're making a keyboard patch, you probably want to add some degree of tracking - trying a piano-like patch with and without tracking is probably the best way to understand it.

 

Hope that helps (and that the Microbrute architecture behaves they way I imagine).

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@Rowan Morrison That helped get my head around it. When I looked at it I realised that the ENV Amt in the Envelope section (5) is actually sending the envelope to the Metalizer by default. You can see it in the mod matrix in the top right. It can be patched to the other wave mods. Pretty cool :)

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23 hours ago, mindgames said:

@Rowan Morrison That helped get my head around it. When I looked at it I realised that the ENV Amt in the Envelope section (5) is actually sending the envelope to the Metalizer by default. You can see it in the mod matrix in the top right. It can be patched to the other wave mods. Pretty cool :)

 

Ah, right, I wasn't aware there was some default routing going on. I think the Metalizer is a kind of wavefolder, so that'd make a good destination for the envelope to provide some punch. Presumably it's also going to the VCA, since it's in the VCA section, but I guess it gets sent to the Metalizer regardless of how the Env/Gate switch is set (unless you repatch it).

 

Usually you can bypass these kind of conections by simply sticking a cable into the Metal socket with nothing connected to the other end.

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1 minute ago, Rowan Morrison said:

 

Usually you can bypass these kind of conections by simply sticking a cable into the Metal socket with nothing connected to the other end.

 

Yeah that sounds like what was happening.

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Did a very short loop with the preenfm2 to let a friend hear how it sounds if anyone is interested.

 

https://soundcloud.com/exitchamber/preenfm-test

 

Excuse the rough as fuck recording, it's straight into the mic jack on my laptop from the ctrl out on my cheapy desk. I really need to get a proper audio interface sorted for recording. That's four parts from the preen with a bunch of reverb on top.

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21 hours ago, chris on the moon said:

Does anyone use synthmaster and make your own voices with it?

I am finding the presets absolutely great but if I want to do anything with them it's totally incomprehensible to me.

I do. Initially it was difficult, and I'm still learning stuff, but it's all about applying modulation to parameters with the right mouse button. I have to say the manual doesn't explain programming very well at all, just goes over the layout. The fact they're constantly promoting preset packs for sale, and now have a pack shop built into the synth, says to me they only really expect synth programmer types wanting to sell presets to actually program sounds rather than us musicians. That's just the cynic in me though.

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Yeah i do. Love it to bits. 

Like all synths...start with an INIT patch and slowly work it out.

 

Its like 4 different types of synth really.

So you have your basic 2/3/4 OSC synth - effectively subtractive,

An additive synth (where different waves or OSCs are added one by one). This is how an organ works - the first ever synths were like this.

A wavetable (which is like a Korg Wavestation) - 16 waves/OSCs are loaded then scanned across.

Vector - a simple 4 OSC synth where you can use an X/Y controller to select or merge the OSC/waveform. 

Theres an audio in as well - which i don't use.

 

 

 

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