Alright guys, I'm REALLY intersted in gathering some cool and good ways to process your sound.
Often when you've designed your own sound from an init patch it might sound good. But the actual sound processing is a whole other step which actually could change the total characteristic of the sound you've made. Even make it more powerful, stronger, different, etc etc.
So my question is: are there any good tutorials on this in overall? I'm not that intersted in processing audio at the moment (except for the sounds I've made, if I'd bounce them).
I've tried alot of different stuff with alot of good plugins, but it just doesn't get me there.
So any tips on how to make, let's say, a superhard supersaw like this;
http://soundcloud.com/ziggy-stardust/zi ... c-original @ 0.54,
the trick isn't the actual sound, the trick is how to get it processed to sound so fat and hard, for instance; frequency splitting (how?) tried to do this but it doesn't give any power to the sound at all, even with good eqs, parallel compression, saturation, eqing etc.
or a sound like this:
http://soundcloud.com/sunneryjamesryanm ... -ben-hague @ 1.32 sec
same as the above.
I'd like to make powerful sounds from my init presets by getting more knowledge about sound processing in overall.
Any ideas/tips/tutorials/whatever?
Thanks in advance!
Sound processing
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- KVRAF
- 13734 posts since 19 Jun, 2008 from Seattle
I could have sworn there were "stickies" with tons of links in "getting started", but apparently not. Start here:
Then there is always the SoundOnSound tutes: "Synth Secrets", available (AFAIK) at their website.
fwiw: Your use of the term "processing" is somewhat confused/confusing.
You're asking how to "program" (not to be confused w/coding) a certain sound.
The "process" of creating a sound from scratch with a synthesizer using an "init" patch includes a number of the parameters (w/results) that you refer to, though they are internal processes characteristic or particular to the synth itself, and/or the 'type' of synthesis you are exploring, and how that type has been implemented with the specific instrument you are using.
So, though your specific questions have generally approachable answers, it would be easier to help you if you said:
"I am trying to make a [desired: "sound/effect"] using [insert: synth name]."
[2c]
Then there is always the SoundOnSound tutes: "Synth Secrets", available (AFAIK) at their website.
fwiw: Your use of the term "processing" is somewhat confused/confusing.
You're asking how to "program" (not to be confused w/coding) a certain sound.
The "process" of creating a sound from scratch with a synthesizer using an "init" patch includes a number of the parameters (w/results) that you refer to, though they are internal processes characteristic or particular to the synth itself, and/or the 'type' of synthesis you are exploring, and how that type has been implemented with the specific instrument you are using.
So, though your specific questions have generally approachable answers, it would be easier to help you if you said:
"I am trying to make a [desired: "sound/effect"] using [insert: synth name]."
[2c]
I'm not a musician, but I've designed sounds that others use to make music. http://soundcloud.com/obsidiananvil
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- KVRian
- 583 posts since 4 Sep, 2007
if you record a few instruments and have a bad source, you wouldnt want to use, you would want to record it again, better.
if the you record a bass drum and it comes out thin, you would record it again with better mic choice and placement.
onyl reason why you wouldnt do that in real life scenario is if you dont have the money for the extra studio time.
when you make your sounds from scratch, you need the right choice of instrument for each task. meaning the right instrument for the bass would not necceserly be the right choice for the lead.
if you come up with something that sounds too thin, than you need to remake the sound so youll have a good source. but also be carfull not making everything as fat as you can. each instrument has its place in the mix and you cant have them all big. a good lead can drive the song, but it doesnt mean the sound it self need to be fat.
use saturation as part of the sound design it self.
use eq to cut frequncies that a sound does not need, like low end of a snare. you dont have to use parametric eq, mixing engineers were fine for years with much more limited eqs. never eq to boost to give a sound more presence in the mix only if its part of the sound design.
use compressor only if theres too big of a difference between the lowest and highest of the track (unless you meant it to have that difference).
what do you mean by frequncy splitting?
if its to split the instrument into 2 layers and give each different processing, than you just use a filter and bounce the result. once with hp filter and once with lp filter. this techniqe is used for a base when you want to process only the mid frequncies without affecting the low end.
if you mean to make the song wider, than its a matter of panning instruments which uses the same frequncies a bit different. you can play the lead 3 times, so each time you play the notes just a bit different with different velocities, and assign each to a different vsti with just a bit different settings. one on the left, one on the right and the center (i would pan that one as well so it wont be dead center).
if the you record a bass drum and it comes out thin, you would record it again with better mic choice and placement.
onyl reason why you wouldnt do that in real life scenario is if you dont have the money for the extra studio time.
when you make your sounds from scratch, you need the right choice of instrument for each task. meaning the right instrument for the bass would not necceserly be the right choice for the lead.
if you come up with something that sounds too thin, than you need to remake the sound so youll have a good source. but also be carfull not making everything as fat as you can. each instrument has its place in the mix and you cant have them all big. a good lead can drive the song, but it doesnt mean the sound it self need to be fat.
use saturation as part of the sound design it self.
use eq to cut frequncies that a sound does not need, like low end of a snare. you dont have to use parametric eq, mixing engineers were fine for years with much more limited eqs. never eq to boost to give a sound more presence in the mix only if its part of the sound design.
use compressor only if theres too big of a difference between the lowest and highest of the track (unless you meant it to have that difference).
what do you mean by frequncy splitting?
if its to split the instrument into 2 layers and give each different processing, than you just use a filter and bounce the result. once with hp filter and once with lp filter. this techniqe is used for a base when you want to process only the mid frequncies without affecting the low end.
if you mean to make the song wider, than its a matter of panning instruments which uses the same frequncies a bit different. you can play the lead 3 times, so each time you play the notes just a bit different with different velocities, and assign each to a different vsti with just a bit different settings. one on the left, one on the right and the center (i would pan that one as well so it wont be dead center).