Ableton’s Operator is incredibly powerful when it comes to FM and basic additive/subtractive techniques, but like several other additive softsynths, there’s no way to animate the harmonics for morphing effects. Fortunately, there’s a workaround that lets users create their own smoothly morphing harmonic structures. It just requires a few extra steps, but the result is shimmering, animated textures that are well-suited for unique pads and leads.
Filtering by Category: Sound Design
One of the hottest trends for clubs and festivals is incorporating drum machines and synths into DJ sets. Tastefully approached, adding live elements to recorded tracks is a great way to stand apart from the pack.
That said, I’ve seen some sets that just didn’t work because the DJ hadn’t thought their live strategy through. For one thing, the tracks in a set are already complete productions, often without much room for added parts. Another pitfall lies in attempting to be rhythmic with these live elements. Dance music is so tightly sequenced that unless you have Prince’s keyboard chops or zero latency on your arpeggiator, the new parts just won’t align.
Based on my experiences performing with a Roland System-8 with DJ/guitarist Cloudchord, I’ve discovered two key approaches to seamlessly blend additional instruments with recorded tracks.
Despite the fact that the Roland JP-8000 was released more than 20 years ago, its supersaw waveform is now a true staple in every synthesist’s arsenal. Electronic music historians may know that it first rose to prominence in the late 90s trance scene, but it became truly indispensible during the EDM era and can now can be found at the core of countless pop and future bass tracks. As a college professor, I’m always amazed that this is the first sound my students want to learn in their introduction to synthesizer programming.
And now, a word from our sponsor… After over a year of development, Serum Toolkit 3 has finally arrived. For this pack, every patch includes original wavetables and samples, created from scratch using physical modeling and hi-res sampling. Many of the techniques used in this library are explained in my Serum Masterclass for Electronic musician.
In addition to the original wavetables, the pack also includes a huge number of sampled attacks, plucks, guitars, pianos, and percussion instruments. These elements add complexity to the wavetable oscillators and are a major departure from the usual “Serum sound”.
I also included updated Macros, including the new “XFORM” knob, that morphs between two completely different sounds. This basically doubles the number of presets to 200 - and lets you customize the results with a single knob.
Here’s a link to the pack, for Serum fans who are interested in checking out my design work - and as always, I’m happy to answer specific questions regarding these presets via my Contact link.
Serum Toolkit 3: https://xferrecords.com/preset_packs/serum-toolkit-3
While it’s only been a few years since Soundtoys 5 was introduced, the package has grown considerably and now encompasses 21 distinct processors. Fourteen of these effects can be found in its Effect Rack, which lets you mix and match devices and save the entire setup as a single multi-effect preset.
This product’s sonic authenticity is a big part of why producers such as Dave Pensado and Tom Holkenborg (a.k.a. Junkie XL) have so enthusiastically endorsed it. Soundtoys plug-ins sound and behave like actual analog gear, and over the years, ongoing refinements have made these plug-ins fairly considerate in terms of CPU usage.
With that in mind, several colleagues have urged me to take a closer look at the creative possibilities of this suite, which is capable of going well beyond basic hardware emulations. In fact, certain processor combinations yield results that are reminiscent of modular synth gear, specifically West Coast-style systems (e.g., Buchla and Serge), but with the ability to easily save and recall your patches.
An ever-increasing number of mainstream synths are supporting microtonal tuning these days. On the hardware side, Korg’s Monologue includes a set of the most common tunings, as well as user-created scales. On the software side, synths ranging from Alchemy to Zebra provide access to custom scales.
While getting the hang of composing with microtonal tunings can be daunting, there’s a simple way to experiment with one of the more common flavors: Harmonic sequencing. Although the standard 12-tone equal temperament scale is essentially based on the harmonic series with caveats for each key, working directly on harmonic sequences offers a tonal purity that’s immediately enticing for some artists.
In last week’s post, we examined a few methods for turning envelopes into LFOs on synths that support envelope looping. This time, we will invert that process and cover the possibilities lurking within LFOs that can also operate in one-shot mode.
One-shot mode is a neat LFO trick that can be found on several hardware and software-based synthesizers. The first time I encountered it in hardware was in Korg’s monophonic Monotribe ribbon sequencer. As for software, the ubiquitous Xfer Serum included it from its first releases.
Depending on the synthesizer’s implementation, one-shot LFOs can be either basic or mind-bogglingly complex. Here are a few techniques you can use on synths that support it.
Without modulation resources, a synthesizer is just a sophisticated organ. Modulation breathes life into a sound, adding motion to oscillators, filters, and amplifiers. Naturally, sound designers want as many options as possible for modulating synth parameters, but as is often the case with instrument design, pleasing every user equally is a daunting task: Some users want oodles of envelopes; others want LFOs galore.
What’s more, the feature set of a synth is a core component of its overall sound. While it’s fun to fantasize about softsynths and modular rigs having unlimited possibilities, the instruments that stand the test of time have a particular sound. And that sound is partially defined by the modulation tools that are available.
In this tutorial, we’ll look at a few ways to use envelopes as LFOs. Not every synth supports this level of versatility, but quite a few mainstream products—both software and hardware—do. Here are techniques for three of the most popular synths available now.
It’s no exaggeration to say that Dave Smith Instruments’ OB-6—a true collaboration with Tom Oberheim—has quickly become one of the most sought-after analog polysynths of the 21st century. By combining elements of Smith’s own Prophet 6 with the filter topology of the Oberheim SEM, the OB-6 is capable of textures that are unlike any other analog poly to date.
For this Master Class, I won’t be rehashing the generalities of analog synthesis. Instead, the focus is on programming tricks and techniques that highlight the possibilities lurking within the OB- 6. It’s also worth noting that several of the tricks in this Master Class also apply to the Prophet 6, thanks to its similar architecture, so proud owners of that synth may find a few tidbits they can use as well.
If you have an old digital polysynth that you no longer use because you’re unhappy with the sounds, here’s a way to bring it back to life with some analog attitude.
If you own a monosynth that includes an external-audio input jack, you can use its filter and amp to process the output of the other synth. The term paraphonic is used to describe this scenario, where a polyphonic instrument is running all of its voices through a single VCF and VCA. Modern analog monosynths with an external-audio input include Korg Monologue, the Arturia Minibrute and Microbrute, the Novation Bass Station 2, and all of the recent synths from Moog Music.