A mosquito around me. No acid to give!
Anyway I think mosquito sound is not that anoying. It is more the fact it can bite that it’s stressful. Still the most dangerous animal to human animals.
I think I can reproduce that sound acoustically with an aspiring kiss sound, pitching it up after.
Try it!
And yes I found this sound totally annoying.
A lot of others sounds of Sophie seem definitely more interesting.
tiiiight! is this playing straight from the DN or is this something you arranged in a DAW?
arranged in the daw, not that flexible with hardware sequencers yet 
that’s legit man. I don’t even know if that would be possible.
Definitely possible to arrange with OT.
Not flexible! 
Anyway, the most important is audio, and what talently did @krypt.
90% Digitone ? What is / are the other 10%?
(I just realized somebody literally just posted a post about SOPHIE, so I feel kinda bad for posting this but I mean, posting is what the fourms are for right? 
)
~
I recently got a Mono Machine SFX60 for my birthday a few weeks back and was wondering if anyone could experiment with me to recreate that “elephant?” sound on the Mono from
https://soundcloud.com/haileyrosekensington/sophie-squeeze-live-day-for-night
I know she used the monomachine to make this track because on the live performance of this song I can see her playing with her mono, so we should be capable of remaking the sound haha. Thank you so much in advance everyone, I really really appreciate it<3 
Read up above–there’s a gentleman who got some really great sounds out of the Digitone (aka an FM synth).
I would experiment with the FM machines…I’ve tried that before and gotten some of her metallic sounds but the squeaky sounds are tricky. I’d play with exponential LFOs set to whatever the hell you want…Any of the FM parameters maybe. Any closed filter width. Pitches of the synth itself. Who knows.
I’d try it but I just had a pretty in depth MnM session and I’m burn out right now haha. Going to bed.
Thanks! If you ever try to recreate the sound again, definitely tell me!
Any idea’s on how a MnM user may be able to create those melodic lazers that SOPHIE uses in alot of tracks? Example: https://soundcloud.com/whateverrrrrrrrrrrr/soapy-lazerz/s-NUH7q. Thanks!
Sounds to me like BBox machine (toms and snares maybe) with some pretty intense envelope on the filter. Probably pretty closed, lots of Q, very short decay…
It seems a SOPHIE sound design threads pop up here biannually. The gist of it is that no one knows how she does what she does 
Hey thanks for the feedback! Im pretty new to the monomachine so what exactly do you mean by Q if i may ask? 
Q is the same thing as resonance. Are you familiar with resonance when playing with filters on other synths?
Yes, i am use to resonance while on other synths, its just trying to work around the small titles on the monomachine is confusing haha
Q and resonance are interchangeable terms when it comes to low pass filters and high pass filters. This is because the frequency width is already defined by the filter (2-pole aka 12dB/Oct or 4-pole aka 24dB/Oct?)
In EQ/mixing land, Q is the same as bandwidth (aka if the frequency is set at 1kHz is it a wide or a narrow Q? Is it affecting JUST 1k very prominently, or is it more of a range from 600-1.4k?) and then you use the gain knob to make it louder or quieter.
Thanks again for your help!
Hi, does anyone know where to start recreating the metallic clang/drum sound at round 3 or 4 seconds in Sophie’s Hard on the MonoMachine please ?
Here’s a reminder of what it sounds like
Fundamental to every SOPHIE track is an interest in materials, their properties and interactions. She synthesises every sound from scratch, using an Elektron Monomachine and Logic to build up huge libraries of samples. “There always has to be a link between the lyrical ideas and the sound itself,” she says. “A sound will be the initial spark, a very physical response to sound that ties together some of the things I’m thinking about.” The metallic creak in Ponyboy , for example, “was like a mechanical animal of some sort that I was finding sexual,” inspired by thoughts of JG Ballard’s Crash .
Her fascination with the physical properties of latex, metal and silicon (her merchandise has included a dildo-like, but apparently purposeless, silicon “product”) aligns her with the kind of electronic avant-gardists whose track titles riff on maths formulas and chemical elements. “Autechre, particularly, have been my heroes for a very long time,” she says. “There’s something so fundamentally human about their music, and the way that it’s just describing a material world. It’s almost like you’re sticking your hand into a goopy material. Everyone can have some experience of that, it’s a very human thing. You’re literally just responding to materials and emotions through sound. So I don’t think there’s anything geeky about that – it’s really the framing of it that’s made it this exclusive thing.”
The framing of it as ‘intelligent dance music’ made by blokes with machines? “Exactly. Something that I wanted to do with SOPHIE music is to frame the understanding of how people can relate to sound in a human way – in a way that’s not blokey or geeky, and in a way that can live in people’s real lives.
From https://crackmagazine.net/article/long-reads/sophie-earthly-pleasures/
Oh shit, is that also an Akai AX60 too?? I always thought those early EPs with the bassive baselines sounded like AX60 unison mode!
I think it is but afaik* Sophie was using only a Monomachine and laptop at the time of those early records.
*according to interviews