![]() Now, a lot of people assume that, you know, whatever your cutoff is, everything above that is just chop right off. And then as I turned it down, Starts to cut highs off for our sound making our sound rounder. So when I have my cutoff all the way up, it does nothing. So as you know, a low pass filter like this, allows you to cut highs off your sound. I’m going to turn our resonance down for a second. So first things first, what is slope? Let’s take a look at our filter over here. And also one, because it’s so obvious, it means it’s really important that you pick the right slope. So I’m gonna tell you what it is, but more importantly, I’m gonna show you a patch that really makes it obvious. And even when we do understand it, we’re not sure how to use it, what it’s for. ![]() I think that’s something that a lot of synth users, don’t really understand. Here, I explain how it works and how to use it (by this point, the bigfoot analogy is over).įilter Slope. Some people have seen it, most don’t quite understand it but no one can deny its existence. And then, ambience, and I just use their preset called ambience for this, adjusted the dry/wet.Ah, the elusive Filter Slope: the bigfoot of synthesis. The drive is cranked all the way up, and you gotta keep in mind that their volume here really matters the higher the level going into this, the more distortion you’re gonna get, so, you don’t want too little or too much.īack it off, if you really wanna make it nasty, but I like it right around here. I like it there, and I widened it as well. I like this because it allows you to kinda put in the frequency spectrum where you want that distortion. I went with a falling pitch and took this up to about 46% and then I just elongated the decay, so we just kinda get a Okay, so there’s a basic sound, but it’s not nasty enough, so we bring in vinyl distortion. This is simple enough you can go with a falling pitch or rising pitch. So, we got some growl from here, we got some saturation distortion from the filter drive. We’re looking to get aggression from wherever we can. Without that, all right, still growls, but that really pushes it, saturates it, it sounds nice. However, one reason I like this OSR is because it gives us filter drive. Envelope ’em out here I set it to almost halfway. So, this is giving us that wow, right? We set a really low cutoff and our envelope has a pretty quick attack, the wah part and then a slow decay, a wow, just like that. Now we wanna shape it and do things to it. ![]() Now, we’re gonna do it again with this third operator down yet another octave. So if I bring in this second operator, I set it to saw 64, I liked how those two interacted.Īgain, you can experiment with the waveforms you want. Why? Well, ’cause that’s where our growl comes from. ![]() I like having this a zero it helps me, you know, understand how these are interacting a little bit better ’cause it’s all about the volumes of the different operators.Īnd I pitched it up to two ’cause that’ll allow us to put an operator one octave below and then yet another operator one octave below that. We want something nice a bright like that, and I adjusted the level all the way up to zero and turned the main volume down. I’m gonna deconstruct this, turn everything off. There’s a lot of ways to do this so here’s just one way. They all sound different because of the different wave forms used, different distortions used, you know, whatever. It’s funny cause Synths don’t growl! You’re thinking of lions, common mistake.įeel free to talk amongst yourselves in the comment section below. This week is all about Frequency Modulation and the giddy fun that comes with making a synth growl. Look at me! I’m posting about #PatchFriday on the blog!
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |