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173 posts since 19 Sep, 2011

Postby ramo_and; Tue Feb 21, 2012 11:34 am How to make this Chris Brown synth?


Anyone knows how to make the lead synth in this song?


Sounds like some kind of detuned saw but I can't get it right... Anyone who can help me? :)
101 posts since 16 Nov, 2011

Postby Andersblom; Tue Feb 21, 2012 2:36 pm

You probably couldn't even ask Chris Browns producer how he did it. It's just a sample from the Vengeance Future House 4 pack.. "VFH4 Toxicated Melody 1".

That being said - I totally see you headding the right direction with the detuned saw thing. I'd imagine it being 2-3 osc's, All saws - slightly detuned and some unison, another sound might be on top, or it may be done in the same synth, but there's one on top thats slightly less detuned, and less unison, also some vibrato - and all of this is compressed with some "slow" attack to give this little click/stab before the rest of the sound kicks in..

And (this may seem totally obvious and really unnecessary to comment) some sidechain - but without anything on top. I guess you'd want to do this with regular sidechaining since it's a little bit more easy-customizable and straight forward.. But of course they'd have to use an LFO volume trigger to do this within 1 sound :-)

Hope this can help you a little bit closer until "the pros" gets in here :-)
138 posts since 15 Feb, 2012

Postby Ap0C552; Wed Feb 22, 2012 9:12 pm

Take a bunch of saws and some white noise.

I do it with multiple instances of simpler sampler in ableton, all in a instrument rack.

Take two saws both tuned one octave apart and low pass them till you barely hear their "sawness" coming through. (EDIT I noticed in this particulr lead there is not meaty low end pluck so admist this part).

Adjust the decay and and sustain to get the plucked sound.

Then take the rest of the saws and high pass them and detune them each a little bit, and then tune them each at higher octaves.

use short decay, then I personally map the sustain of the highpassed saws to a macro so I can "Open up the sound"

Then work with the white noise with really short decay to get that subtle noise at the top. I noticed that the character of this sound is provided by a white noise hit on the attack of the sound.

Then most likely play them in fifth chords.

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