...the magic is all there, peng! You just have to noodle it up there a little, haha!
One Synth Challenge #88: TAL-NoiseMaker (Mac/PC) (z.prime wins!)
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- KVRAF
- 3206 posts since 17 Apr, 2010 from Slovenia
...the magic is all there, peng! You just have to noodle it up there a little, haha!
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- KVRian
- 725 posts since 11 Mar, 2014 from Netherlands
maybe i'll work on this
trying to make something epic/dramatic
https://soundcloud.com/rghvdberg/osc88- ... r-new-hook
trying to make something epic/dramatic
https://soundcloud.com/rghvdberg/osc88- ... r-new-hook
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- KVRAF
- 3206 posts since 17 Apr, 2010 from Slovenia
Hmm, nice, Rob!
If you don't mind me suggesting this thought, I'd tell you to consider to reflect the "epic strength" of what you're preparing there- with all the great and heavy arrangement and (more or less) traditional harmony progressions- into the lead voice and its design. Right now what might lift it out of the weight it wants to have is the wispy, (out of breath) and way too tender lead "vocal", so to say.
What I'm telling you is a really challenging exercise in sound design, but, please, bear with me...
The formant of a sound really gives it its nature, I believe. You know how a sound can go more mickey mouse like, if the formant wants to sit lower than it is played?! This can turn a male sounding tone into a female or even munchkin like tone.
There are moments where this is great and moments when this is devastating or simply weak.
To figure out how to combat this, you could ponder over what makes a male voice or a strong voice as opposed to what a weak or tender voice may sound like. You can make yourself an internal checklist, really. Then see to work it down until you're happy, which ever way you want to go! But it's REALLY important that you are aware of what you want in these terms more than in terms of "uh, that sounds sweet or nice".
In the kind of music you are approaching there, it's not really about it "sounding nice" by no particular reference. This sort of stuff wants to be understood as a whole. Otherwise the opposing or rebelling pieces battle all the strength out of the tune. At least that's what I'm thinking.
So, if I were you, I would try to make a tougher lead sound, most probably more male, but it's about a strong conviction to the moment. It's sad and massive. Right now you have a sad and massive (slightly longing) stage prepared, which sits on the razor's edge, because the harmony-progressions are pretty explicit (or kind of simple). That is perfect, if you have it accompany someone, who really expresses in such raw and sincere fashion these thoughts everyone should be able to understand and also understand from whom they are coming. I would probably try to go one octave down with the lead, give it more body, maybe even something like a slight saturation, but without changing its placement in space (but who cares right now, just some thoughts.). You could, for the hyper-epic moments, give "him" his siren choir or background vixens, who represent his ethereal backup, you know, hehehe.
Anyway, I was just in the mood to tell you all this, since it felt like you were kind of asking?!
...it could get VERY great!
UH, I should add: You could go the other way, too, of course, lifting all the background arrangement up, pushing air into it and so on, but I just think it doesn't quite fit the harmonic composition as much...but, who knows!?
If you don't mind me suggesting this thought, I'd tell you to consider to reflect the "epic strength" of what you're preparing there- with all the great and heavy arrangement and (more or less) traditional harmony progressions- into the lead voice and its design. Right now what might lift it out of the weight it wants to have is the wispy, (out of breath) and way too tender lead "vocal", so to say.
What I'm telling you is a really challenging exercise in sound design, but, please, bear with me...
The formant of a sound really gives it its nature, I believe. You know how a sound can go more mickey mouse like, if the formant wants to sit lower than it is played?! This can turn a male sounding tone into a female or even munchkin like tone.
There are moments where this is great and moments when this is devastating or simply weak.
To figure out how to combat this, you could ponder over what makes a male voice or a strong voice as opposed to what a weak or tender voice may sound like. You can make yourself an internal checklist, really. Then see to work it down until you're happy, which ever way you want to go! But it's REALLY important that you are aware of what you want in these terms more than in terms of "uh, that sounds sweet or nice".
In the kind of music you are approaching there, it's not really about it "sounding nice" by no particular reference. This sort of stuff wants to be understood as a whole. Otherwise the opposing or rebelling pieces battle all the strength out of the tune. At least that's what I'm thinking.
So, if I were you, I would try to make a tougher lead sound, most probably more male, but it's about a strong conviction to the moment. It's sad and massive. Right now you have a sad and massive (slightly longing) stage prepared, which sits on the razor's edge, because the harmony-progressions are pretty explicit (or kind of simple). That is perfect, if you have it accompany someone, who really expresses in such raw and sincere fashion these thoughts everyone should be able to understand and also understand from whom they are coming. I would probably try to go one octave down with the lead, give it more body, maybe even something like a slight saturation, but without changing its placement in space (but who cares right now, just some thoughts.). You could, for the hyper-epic moments, give "him" his siren choir or background vixens, who represent his ethereal backup, you know, hehehe.
Anyway, I was just in the mood to tell you all this, since it felt like you were kind of asking?!
...it could get VERY great!
UH, I should add: You could go the other way, too, of course, lifting all the background arrangement up, pushing air into it and so on, but I just think it doesn't quite fit the harmonic composition as much...but, who knows!?
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- KVRAF
- 22960 posts since 8 Oct, 2014
I like it and I think the sounds are perfect for what you're trying to do.rghvdberg wrote:maybe i'll work on this
trying to make something epic/dramatic
https://soundcloud.com/rghvdberg/osc88- ... r-new-hook
But what do I know? I'm just a hack at this stuff.
So listen to Taron. That guy's got some smarts.
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- KVRer
- 15 posts since 11 Jun, 2016
Truth! Lol. I was watching a good friend of mine in college make and write his album in Ableton in April of this year and I was like wait, I WANT TO GET ABLETON!! So, I got the discount for students on the website, and here I am!:)z.prime wrote:Lies! But, off to a very good start if soBrisbane wrote:I've only started producing music about three months ago
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- KVRian
- 725 posts since 11 Mar, 2014 from Netherlands
I am! I am asking for input, suggestions etc etc. I want to, need to get better at this. I feel I've gone as far as I could on my own. It's time to take it a step further. It's time to learn from people who are really good at this.Taron wrote:Hmm, nice, Rob!
Anyway, I was just in the mood to tell you all this, since it felt like you were kind of asking?!
...it could get VERY great!
:
I haven't really, deeply delved in the sound design yet. I'm more looking into the groove and chord structure for now, but ...
I really started out with an idea to have a big sounding chord structure and a lofty, melancholic lead,way on top. As if it is floating. As you suggested, I am experimenting with a lower more gritty sound too. Demo soon.
Confession Time : Yes , I'm stealing ideas from Jasinski's track https://soundcloud.com/jasinski/jasinsk ... c-74-dexed
I'm not ashamed.
I'm trying to create a soundscape like at 00:30 ..
I know this is way out of my league but that's what I'm after.
Oh, and if the man who created THIS: https://soundcloud.com/taronium/osc86-p ... el-peccato
is giving you tips on sound design and composition .. you bet I'm gonna listen to him ..
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- KVRer
- 15 posts since 11 Jun, 2016
It's basically about starting with a good sounding harmonic rich patch for the synth sound then auto filter it to your liking, cranking up the release time on the synth and raising the attack, maybe using some simple delay and/or ping pong delay with a pretty high dry/wet ratio and probably a good amount of feedback with a personal preference on timing of the delay from left to right (for ping pong) or the rhythm of it (for simple delay). Then last but not least (you might not need it, but it basically puts everything together) is to add a crap ton of reverb, that sounds good of course. Also, you can experiment with different timed LFO's to really give the sound some character, and also add more of a trance type feel. Then if this isn't good enough, maybe add some flattening compression on the whole thing to maybe bring out parts of the sound scape that could help fatten the sound or lower down some weird harmonics or frequencies that stick out too much. I didn't cover EQ yet, but it's whatever. Crap, then lastly, the most important of all, compositionally, you need to layer your sounds and make a chord out of your original synth to help fatten the sound up more.rghvdberg wrote:I am! I am asking for input, suggestions etc etc. I want to, need to get better at this. I feel I've gone as far as I could on my own. It's time to take it a step further. It's time to learn from people who are really good at this.Taron wrote:Hmm, nice, Rob!
Anyway, I was just in the mood to tell you all this, since it felt like you were kind of asking?!
...it could get VERY great!
:
I haven't really, deeply delved in the sound design yet. I'm more looking into the groove and chord structure for now, but ...
I really started out with an idea to have a big sounding chord structure and a lofty, melancholic lead,way on top. As if it is floating. As you suggested, I am experimenting with a lower more gritty sound too. Demo soon.
Confession Time : Yes , I'm stealing ideas from Jasinski's track https://soundcloud.com/jasinski/jasinsk ... c-74-dexed
I'm not ashamed.
I'm trying to create a soundscape like at 00:30 ..
I know this is way out of my league but that's what I'm after.
Oh, and if the man who created THIS: https://soundcloud.com/taronium/osc86-p ... el-peccato
is giving you tips on sound design and composition .. you bet I'm gonna listen to him ..
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- Banned
- 278 posts since 6 Oct, 2013 from The Red Eye
I received a message over at Soundcloud that the naming format of my track is incorrect. I just want to clarify and make sure I did everything by the book.
It states in the rules the format should be: Artist name-Track title (where the name is the same as the nick here in KVR). Since question marks can't be used when tagging/naming files, I typed the words "Question Mark" along with the letters "qqn" which is an abbreviated term for my artist name ("Quelq'un" which is French for "someone").
Is this ok?
It states in the rules the format should be: Artist name-Track title (where the name is the same as the nick here in KVR). Since question marks can't be used when tagging/naming files, I typed the words "Question Mark" along with the letters "qqn" which is an abbreviated term for my artist name ("Quelq'un" which is French for "someone").
Is this ok?
Ask not what your DAW can do for you, but what you can do with your DAW
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- KVRAF
- 3206 posts since 17 Apr, 2010 from Slovenia
LOL on "? ? ?" Hahahahaha...incredibly funny! 
...worst case just write "9 9 9" and I think we'll know who was meant!
Anyway, Rob, you will be able to pull it off, I have no doubt! There are tons of things people can tell you on how to do what technically and all that, but if you try to follow them, you may only get your head spinning before you are anywhere near to knowing what you're doing.
My advice is to set yourself a goal, like to give a sound a certain character, and first approach the oscillator waveform directly, see which one will get you closest at your desired octave. Experiment with all aspects of these waveforms. In TAL you have an interesting set of choices to get there:
(let's ignore all "noises")
- OSC1 (saw, pulse with pulse width (very important!!!))
- OSC2 (saw, pulse, triangle and sine, all with FM choice (just as important!!!))
- Ringmodulation (pretty important!) and SYNC options (really important, too!!)
All these features have a direct impact on the very source of your sound! Most of the time, I find, it's vital to get major character traits there already, even while you can turn the whole sound on its head with filters and other effects later, the soul of the sound is right in here!
If you have Mickey Mouse yodeling at this point, no filter in the world can grow him a pair again, haha...well...let's just say it was so!
The really tricky part is not to get your "ears" corrupted while listening to adjustments for too long. During sound design we easily drift off into forgiveness-land, which is a beautiful place to be and one we should visit frequently, but during sound design or any design, this is the forbidden zone!!!
So, always be a really harsh and as clear as possible judge of your sound, especially at this point. (It's what I do, hehe!)
Now there are some obvious things you can do to nudge the character around, like with the pulse wave and its width, or picking triangle over sine or any of those rather direct choices. But you can really start fine tuning character by carefully using FM. Instead of considering it "an effect", consider it as a fine adjustment of the color of your sound. The same can be done with sync and, of course, ring modulation. You can use them not to create effects, but to adjust the soul or nature of your sound (yes, yes, or color, character of it). Using an animation/modulation of those will further add to the impression such sounds can make.
In terms of time, where the sound reaches its meaningful moment, it carries its original character, but up until the moment or after it, you can adjust those aspects without losing the original character.
Filter then help you to isolate character traits and boost or suppress them. Sounds logical, but if you didn't think about that before, you may have noodled on a sound for a while without getting somewhere, simply because you didn't realize that the character in the source was wrong. So, you can only get something out that was there before!
Then it takes a certain amount of patience to isolate nuances you hear within a sound. You will hear them, but you may at first not be fully aware of them. Especially when you play around with filtering, they may jump out at you. But you have to differentiate between the sound of the filter and the actual portions coming from the waveform. That's easy to test, though. Just disable the filter and if you can still hear it, it's in the waveform.
Anyway...oh, that's a lot and I'm trying to keep it brief?! Fun to think and write about, though. Maybe I write a big thing about it somewhere else?! Maybe then with examples and all...just for fun, of course.
Most important: You become the creator! This is not an "ego" thing or pride or whatnot. It's about you finding your voice and completing your "message" or delivery of what ever it is that already comes from you until then. Bring it home completely by giving your song a complete DNA. I find that extremely exciting and what comes out has most strength and authenticity! You can do it!
...worst case just write "9 9 9" and I think we'll know who was meant!
Anyway, Rob, you will be able to pull it off, I have no doubt! There are tons of things people can tell you on how to do what technically and all that, but if you try to follow them, you may only get your head spinning before you are anywhere near to knowing what you're doing.
My advice is to set yourself a goal, like to give a sound a certain character, and first approach the oscillator waveform directly, see which one will get you closest at your desired octave. Experiment with all aspects of these waveforms. In TAL you have an interesting set of choices to get there:
(let's ignore all "noises")
- OSC1 (saw, pulse with pulse width (very important!!!))
- OSC2 (saw, pulse, triangle and sine, all with FM choice (just as important!!!))
- Ringmodulation (pretty important!) and SYNC options (really important, too!!)
All these features have a direct impact on the very source of your sound! Most of the time, I find, it's vital to get major character traits there already, even while you can turn the whole sound on its head with filters and other effects later, the soul of the sound is right in here!
If you have Mickey Mouse yodeling at this point, no filter in the world can grow him a pair again, haha...well...let's just say it was so!
The really tricky part is not to get your "ears" corrupted while listening to adjustments for too long. During sound design we easily drift off into forgiveness-land, which is a beautiful place to be and one we should visit frequently, but during sound design or any design, this is the forbidden zone!!!
So, always be a really harsh and as clear as possible judge of your sound, especially at this point. (It's what I do, hehe!)
Now there are some obvious things you can do to nudge the character around, like with the pulse wave and its width, or picking triangle over sine or any of those rather direct choices. But you can really start fine tuning character by carefully using FM. Instead of considering it "an effect", consider it as a fine adjustment of the color of your sound. The same can be done with sync and, of course, ring modulation. You can use them not to create effects, but to adjust the soul or nature of your sound (yes, yes, or color, character of it). Using an animation/modulation of those will further add to the impression such sounds can make.
In terms of time, where the sound reaches its meaningful moment, it carries its original character, but up until the moment or after it, you can adjust those aspects without losing the original character.
Filter then help you to isolate character traits and boost or suppress them. Sounds logical, but if you didn't think about that before, you may have noodled on a sound for a while without getting somewhere, simply because you didn't realize that the character in the source was wrong. So, you can only get something out that was there before!
Then it takes a certain amount of patience to isolate nuances you hear within a sound. You will hear them, but you may at first not be fully aware of them. Especially when you play around with filtering, they may jump out at you. But you have to differentiate between the sound of the filter and the actual portions coming from the waveform. That's easy to test, though. Just disable the filter and if you can still hear it, it's in the waveform.
Anyway...oh, that's a lot and I'm trying to keep it brief?! Fun to think and write about, though. Maybe I write a big thing about it somewhere else?! Maybe then with examples and all...just for fun, of course.
Most important: You become the creator! This is not an "ego" thing or pride or whatnot. It's about you finding your voice and completing your "message" or delivery of what ever it is that already comes from you until then. Bring it home completely by giving your song a complete DNA. I find that extremely exciting and what comes out has most strength and authenticity! You can do it!
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- KVRist
- 81 posts since 14 Jan, 2015
https://soundcloud.com/zippy731/dusk
Here's my entry for this month
Made in FL Studio 12.2
16 instances of TAL Noisemaker
Mix of presets & custom patches
FLS FX:
EQ: Parametric EQ
Distortion: Blood Overdrive, Fast Dist, Waveshaper
Compression: Fruity Limiter, Maximus
Sidechaining: Peak Controller, Love Philter
Reverb/Delay: Delay Bank, Convolver, Stereo Enhancer
3rd party FX
Flux Bittersweet II (snare transients)
-------------------------------
Here's my entry for this month
Made in FL Studio 12.2
16 instances of TAL Noisemaker
Mix of presets & custom patches
FLS FX:
EQ: Parametric EQ
Distortion: Blood Overdrive, Fast Dist, Waveshaper
Compression: Fruity Limiter, Maximus
Sidechaining: Peak Controller, Love Philter
Reverb/Delay: Delay Bank, Convolver, Stereo Enhancer
3rd party FX
Flux Bittersweet II (snare transients)
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Just because it's insane doesn't mean it's a bad idea.
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Before visiting my Youtube channel or Soundcloud, make sure your affairs are in order. You just never know.
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Before visiting my Youtube channel or Soundcloud, make sure your affairs are in order. You just never know.
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- KVRian
- 725 posts since 11 Mar, 2014 from Netherlands
YES I CAN DO IT!Taron wrote:You can do it!
Thanks man, I needed this
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eraze the borders eraze the borders https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=278104 - KVRist
- 183 posts since 4 Apr, 2012 from Berlin, Germany
Yes please!!!Taron wrote: Anyway...oh, that's a lot and I'm trying to keep it brief?! Fun to think and write about, though. Maybe I write a big thing about it somewhere else?! Maybe then with examples and all...just for fun, of course.
Failure is success in progress.
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- KVRian
- 725 posts since 11 Mar, 2014 from Netherlands
+1eraze the borders wrote:Yes please!!!Taron wrote: Anyway...oh, that's a lot and I'm trying to keep it brief?! Fun to think and write about, though. Maybe I write a big thing about it somewhere else?! Maybe then with examples and all...just for fun, of course.
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- KVRist
- 187 posts since 11 May, 2016 from Bulgaria
It seems that clap and snare sound design isn't my strong side - probably cuz never done it before - nothing original after playing with a Jasinski clap but anyway it may be useful as layer to somebody.I am wondering what to apply - nice modern progressive house track which is almost finished or original non style composition,considering that probably there will be many strong modern compositions.Cheersjasinski wrote:I got just a couple in hereVELLISLAV wrote:by the way i'm struggle with proper clap or snare preset - if somebody could share something in development i'll try to return the favour and make some variations
https://dl.dropboxusercontent.com/u/163 ... resets.zip
You do not have the required permissions to view the files attached to this post.
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- KVRAF
- 2229 posts since 29 Sep, 2011
Clap sounds and more... Awful:
https://soundcloud.com/z_prime/my-mad-s ... mad-skills
https://soundcloud.com/z_prime/my-mad-s ... mad-skills