There's 4 big parts that play a major role
1 ) Wave
2 ) Pitch
3 ) Filters
4 ) Time variants ( modulation ) for 1) - 2) and 3)
5 ) FX
1 ) for the A4 there are many different poss. for the waves X 2
al the OSC wave choises + all sync options
in the A4 the sync result allso dépends alot on
the pulsewith depth and position +++ The relative pich of
each wave +++ the SUBS.
Try to start at this page when making a new sound ....
but put off all modulation as OFF far as possible = LFO's destinations 0
= ENV destinations 0
= FX settings 0
2 ) Try out different pich - settings for both ossc. + subs
>>> make variations in all sync options and sync-depth
>>> depending wich Osc is sinced ( try it out ) changing the pich of 1 of them will result in a pure harmonical change ( you won't hear the pich altering - but only the " caracter " of the wave
3 ) Next step could be filter positions ( put filter 2 in highpass and reso at 0 for the time being ) so every frequecy passes...
1 > Filter 1 is allways in LOWPASS > so it will take away the high frequencies ( To make the sound " articulate " > High resonance - settings + turn the Cutoff AND LISTEN !
2 > Ones U found something that resonates with you
Now start to play with Filter 2
>>> this filter has many options
> High pass ( cuts away Low or BASS freq. ) 1 steep - 2 less steep - BUT you can allso use it to Blow up Low freq.'s when boosting the resonance with the cutoff set at LOw freq.
> Low pass ( cuts away High or TREBLE freq. ) 1 steep - 2 less steep
> All other Filter - types ( or variations - the image explais visually what they do - likt the low and high pass )
try out different resonance - settings > this can make a huge difference ! U can see filter 2 as a kind of scalpel to cut deeper in the filter 1 result
4 ) All différences you have heard until now when changing the filter and resonance and waves - settings can be time variant > so instead of changing the values manually these changes can be incorporated in the sound. in time .
>>> This is where the ENVELOPESS and LFO's are needed.
try to find some literature on this ( to vast to explain here )
1 > LFO' s are mosttly cyclic ( repeating ) modolators when very fast they change the caracter of the sound - they can be one - shot - Like the ENV's. ( try differen destinations ) .
2 > ENV's are one - shot ( for amp or 2 filter ENV's )
( attack = starting time > until level decay > decay = time until level sustain !!! SUSTAIN is a level ( the time a note is on - by your finger or by note length ) Release = Fade-ot time. )
5 ) FX > DELAY
CHORUS ( very interesting > to fatten or widen sounds make it fast but be careful with the level )
Static sounds can vary ENORM by TIME - VARIABLES... that's why modulation is so important.
for percussive sounds - use ENV's with very fast attacks - The A4 has exellent ENV's for this.
Making very small pich différences on both Ossc's is good to achieve fazing ( very small ) This can be Time - variant by using the Ossc 2 vibrato. ( Its vibrato and pich-shift is independant from Ossc. 1 so in combination with syncing options > very interesting caracter change = hatrmonics )
FOR DRUM SOUNDS > put the the Ossc2 in RETRIG so it start's every trig in the same phase ( to aviod slightly differen sounds )
Don't forget that by trigless parameter-locking you can change the behavior of a sound in time to.
- some tips I could think of straight - away. these are the basic building-blocks - but there's much more to discover. Ones you handle these the rest wil follow with ease. > Iteraction is the game.
Enjoy - for more detailed explenatios > just ask
In analog synthesi the sweet spot can be found in very tiny parameter - shifts so don't go turnig those values in big steps rigth - away
BE PATIENT and TRY AGAIN TOMORROW
If u know that u are going tu use REVERB it can be good to add it at the beginning as this can alter te caracter of a soud deeply