[ Sound Bank ] LOWEND101 (Available) Booklet content reveal every week!


#224

Happy New Year @alejander


#225

Congrats Mr Wild! Happy 2018!

Will be a pleasure feeding these to my A4. You obviously put heaps of time and eeffort into this release.

respect


#226

Happy 2018 @tsutek ! :wink: Thanks


#227

Bonne année William !
These presets are excellent, I particularly like the ‘Paris’ one :wink: , very useable
I can’t wait to read your booklet !
Thank you very much


#228

used ravechord in the track i just posted. :slight_smile:


#229

Happy New Year @Sygma ! THANKS


#230

Where is the track ? @303abuser
Edit : I find it I guess


#231

that’s the one. if you have time for feedback, i’d love your thought on what i can improve.


#233

Thank you sir! You are a Great man and skilled sound designer!


#234

Thansk for the kind words @lionstone :wink:


#235

LowEnd 101 - Part of the Tools

Analog Four CUTOFF POINT Table Ladder Filter F1 and MultiMode F2


Cutoff-point

No big deal here. Some will find it helpful, others don’t and make it by ear. But that’s a small guide, useful to recreate patches when the recipe gives you frequency in hertz, if you know where your cutoff point is in hertz no need to plug the analog four through a spectrum or whatever. (useful when you haven’t got a computer with you or don’t want one)

It can be helpful also to ping certain frequencies, boost some range, useful also for Drum Design, Metallic sounds etc…
Anyway I hope you will find it helpful, it is for me… so I share it.

File Updated it’s more easy to use in Values and more accurate now.

Download link :
https://www.elektronauts.com/files/448
Alternative link :
https://www.dropbox.com/s/gv3bsgc5lj0yvw5/A4_Cutoff-point-TABLE_fixed.pdf?dl=0


#236

Great! thanks a lot for providing this. Will definitely come in useful.


#237

@William_WiLD don’t know what’s going on but you are going WILD :rofl::rofl::rofl: with adding more “features” to LOWEND-101 - n1!!!

awesome work!!! will send you some credits for beers or wine or bottled water or coffee or whatever you need :stuck_out_tongue:

get an Impressive --> https://www.youtube.com/watch?v=uDgD-2f-zjs
cause you deserve it.


#238

Yeah I’ve said it was going to be in 2 parts :stuck_out_tongue:
i would like the second part to be nice too

Thanks @santhrax :wink:

File Updated it’s more easy to use in Values and more accurate now.
Download link :
https://www.elektronauts.com/files/448
Alternative link :
https://www.dropbox.com/s/gv3bsgc5lj0yvw5/A4_Cutoff-point-TABLE_fixed.pdf?dl=0


#239

LOWEND Article 01 : Sinewave (from Triangle waveform)

The sinewave is the most simple block of sound. It contain only the fundamental pitch. (No harmonics much like a single “drawbar” on a tone wheel organ) it’s also the carrier in FM synthesis.

Sinewave is the start point or part, in a lot of sounds in sound synthesis. It can be gives extra low to a bass guitar, a synth, it can be a sub bass, part of a bass, it’s the essence of the 808 kick and bass, it can gives organ sound very quickly. give it movement and it become a Wobble Sub Bass or a Wobble Bass.

As you know or notice, the Analog Four don’t give sine, the most close to the sine is the triangle waveform, which is fundamental + odd harmonics. So to get close to the sine we are going to filter the odd harmonics to a point where the triangle shape in an oscilloscope look like a Sine wave.

For this small exercice you will need a computer and this very nice free plugin from jthorborg.
Available for PC and MAC (for Free)
https://bitbucket.org/Mayae/signalizer/downloads/

I suggest this settings. but click on the plugin window you must see Vectorscope, Oscilloscope and Spectrum, we are interested by Oscilloscope to turn our Triangle into a Sine when filtering. And Spectrum to verify how much we clean the odd harmonics…

The Exercise

1. Set your Analog Four as an external instrument in Ableton Live. SO we can put a very long midi note sustained don’t hesitate to make it very long so you can experiment on the waveform, signal level etc… For the purpose of the exercise i program a D#1 on 1000 bars… i get the A4 audio back from my soundcard. MIDI Over USB.
Please note I will not explain how to configure all of this you should know how to do that.

2. Init TRK1 or T1 on your Analog Four or : Clear Track. Reset the filter (F1 frequency to 127,99, Resonance to Zero, F2 in LP2 mode, Frequency to 127,99 and Resonance to Zero) Now on OSC1 set the waveform to TRI (Triangle).

3. Now we’re going in AMP Page : Attack : 4 - Decay : 64 - Sustain : 100 - Release : 8

Now put the Signalizer VST after the External Instrument plugin from Ableton Live. And by playing the midi D#1 (we are in the LOW END register of frequencies…) you should see that.

4. Now we’re going in the Filter page (FLTR) and we will use the Ladder Filter F1 (the first one) Start to use the FRQ parameter slowly and progressively and filtering the Triangle waveform. You will see after value 60 the waveform will look like more and more like a Sine. The pointed parts of the triangle will round out and give you a wave result like this (For informations here I’m at FRQ 55 :

5. What did you notice in this process ? Nothing. Repeat it (open the filter completely and start again) keep an eye on your channel level view-meter ! You must notice it even on my screenshot :wink:

6. Feel free to keep an eye again on the channel metering (open up the FRQ filter again to 127,99) and switch from SAW to TRANSISTOR to SQUARE to TRIANGLE (SAW-TRP-PUL-TRI) You can notice (according you get more or less the same gain staging than me) SAW is around -13,62 dB - TRP is around -15,30 dB - PUL is around -13,16 dB and coming back to our TRI -20dB !

7. Filtering back down with FRQ again our TRI to convert it as a SIN and then the metering should be between -20dB and -46,5 dB depends how much you remove the odd harmonics…

Here I’m at Cutoff 45 (around 50 and 45 thats what i called Perceived Sine it’s usable like this you may at some point in the design bring back some of the odd harmonics regarding level mixing between OSC1 and OSC2…

Here I’m at Cutoff 34 we can see in the spectrum of Signalizer VST we really close to a Pure Sine waveform but the level drop massively :frowning:

What we can do from here

  1. Doubling our Filtered Triangle exactly from OSC1 to OSC2 will result in boosting the signal. We must prevent as far as we can phase issue so we’re going into OSC2 page 2 and activate OSC RETRIG (TRG near AM2) Pay attention the result is what we’re looking for but we do not double our level we get a recovery around 8 - 10dB which is not bad at all.

  2. Using Multimode Filter (F2) as an EQ to boost some Bass frequencies. Feel free to use the Cutoff Point Table and then rise a little the resonance to boost the area. https://www.elektronauts.com/files/448

  3. Rise every gain staging level to max… not ideal… I prefer to keep everything at 100 to keep some room

  4. Feedback OSC2 in OSC1 ? No it’s an interesting method no doubt but not for that level recovery.

  5. Overdrive the Filter ? a bit can help yes but it will introduce hiss/noise on sustained notes so if your goal is a sustained sub-bass, wobble sub-bass I would not use that trick but for short sub bass line, it can work and need a try.

  6. Triggering TRK1 (T1) in a Neighbor machine in OSC2 from TRK2 (T2) : it can help yes but you need to be careful and use a collection of small adjustments like parallel filtering (rather to huge cutoff on TRK1 try medium Cutoff on TRK1 and finished with a small touch on TRK2) with a great set of gain staging you can get a decent sub bass with a comfortable -10dB level meter, But therefore odd harmonics start to bring it back a bit… and you use 2 voices for just a Sub :joy:

Conclusion

I hope i give you some moment and idea to experiment on fundamental & Sinewave in the LOWEND, in the next Article 02 we will look at another way to generate a sinewave a bit more pure and with a bit more of level & dynamics. Which is the Self-Resonating Filter technique.

There’s other way to get great results in the Low End register and Bass sound design and I will try to cover the most. Somehow you will probably put all the techniques in addition to get what u want… Also, all sort of great compromise in that regards especially with Filter Envelope to get a Perceived Sinewave who fall rapidly to a more pure version of it… etc…

But if like me you love pure sinewave for sub, because you are a club music producer or club/festival performer you might choose different alternative : Volca FM or Yamaha reface to cover your Sinewave, from your Analog Rytm, using Sample from Octatrack, VST inside a DAW, Any Digital Synth like Korg MS2000R - Clavia Nord Lead 4 etc… who gives you a pure Sinewave with that dynamic directly from the waveform so you don’t need to find a way to recover the loss of the cutoff process :wink:


Note : The major part of the booklet will be reveal here as a collection of small article. Feel free to comment and discussed … At some point you will be able to download the whole collection as a PDF :wink: as i promise !


#240

LOWEND Article 02 : Sinewave (from Self-Resonating Filter)

This time we using the Filter to generate the sound. Not all filter are capable of this… it’s a cool option to know, and as I said in the Article 01 conclusion : you will probably put all the techniques in addition to get the exact Low Sound you after… We will learn in Article 03 how to make few 808 bass kind of sound and we use this technique in addition to other tips.

The Exercise

1. For that exercice, We use the same session than exercice 1, and we only replace the Signalizer VST by Ableton plugin Spectrum.

2. We set both OSC1 and OSC2 Level to 0

3. Now we gonna adjust our MULTIMODE filter (F2) and analyse at the same time what’s happen in our Spectrum.
Set the Keytracking of the filter to +32 that’s what will give you a range of notes otherwise you will only have a fixed value (it can be desirable to use fix value for design drums but here as we try a technique for sinewave we want a range)
You can find your own machine reference point or set directly in the good range which is between FRQ : 52.50 to 52.85
Then rise the Resonance (RES) to 127 and you will hear and see a C3 in the Spectrum.

Please note we don’t use Ladder Filter because it’s not stable enough to me or at least I didn’t succeed to get a tuned range of notes with the filter tracking

4. the value i save for reference is 52.70 this one seem to gives me the best values on more than one octave. With warming of the machine it can drift a bit so you probably have to refine the value it depends.

5. Watch your channel meter, as you can see we can reach something around -9 to -12dB and our sinewave sounds pure so it’s a great improvement for people who really want a pure sinewave.

What we can do from here

If it’s not a bad technique and give satisfaying results… there’s a couple of drawbacks. It’s not every 100% stable, sometimes you will feel like few notes not sound really full (like in the case of a phase issue) it’s less noticeable in the Low Register which is cool because that’s the subject anyway. We lost one Filter in the process to make Multimode F2 a generator. It can make the sound design a bit more complicated.

  1. We can introduce back now in tune our OSC1 and OSC2 and benefit of a SUB sine. And still use the LADDER Filter to shape our sounds.

  2. We can modulate the FRQ of the Multimode Filter on the attack portion of the sound (we’ll see that in the 808 Bass design examples later)

Conclusion

Pay attention : Mixing those techniques can be tricky sometimes. (with phase…) When Detuning a Sinewave and a filtered Triangle. And even more the Filter self-resonating feature does not provide all the oscillators options who help a lot to maintain your sound-design stable.

One obvious trick but I know when starting a lot make the mistake. When starting to designing a sound you probably put yourself in the range of the sound you want to shape. You playing few notes on your keyboard and think yeah it’s there. Starting to shape and at some point you add the OSC1 Sub maybe on 1 octave and you think Damn it doesn’t sound good :frowning: maybe 2OCT sound weird.

Don’t remove the sub ! Just put yourself one octave higher and start to filter the sound even more to keep yourself and your ear in the nature of the sound you after. There’s a lot of sound who stacked multiple fundamental all have not to be in the same octave. (for now I don’t introduce intervals notion in the design) keeping that easy for now. We only speaking about Tone, later we’ll see pairing, altering and of course movement…

So if the sound is weird when introduce the SUB set OSC1 to +12, or select the upper range to play your notes. Then Filtering more because filter is here exactly for that. You can’t go in the extreme low and heard a nice and pure tone at some point especially with a square as a sub. and even more if you reach the limit of your headphones low frequencies, or not have a sub monitor.


See you guys for Article 3 on Monday afternoon, where we gonna speak more about 808 bass and Sub Bass which is kind of my favorite sound after the pure sinewave we already talked.


#241

No Article today ! it’s Sunday…

But I have something for you a little gift :slight_smile: like 1/128th Gift
it’s the SUNDAY BASS GIFT !

Download :
https://www.elektronauts.com/files/449

I do not think this message will self-destruct on Monday but you never know!


#242

Little add for one of my favorite A4 sound-designer @Floppydisk_Pirates show him the love and listen his work :wink: it’s really affordable i mean what’s 6,99 for 64 Sounds ! The Pads he came with in the Return of the Floppy are beauties …


#243

Just downloaded! :sunglasses:


#244

Top Tune