[ Sound Bank ] LOWEND102 (Announcement : DIY Booklet + theory sheets)


#245

This is Amazing! Thank you @William_WiLD. Need some time to go through it but initial sounds sounds lovely.


#246

The file does not work with my mac on Tap forms mac 5 (5.1.4)


#247

Merci pour tout cet excellent travail !


#248

Hello update your Tap Forms i’m on 5.2.4 :wink:
And PM me if it’s not working i’m sure we’ll fix that together…


#249

Next Articles

Article 03 : Sub BASS (clean & sustained) (Sound-Design exercise)
Article 04 : Sub BASS (More interesting) (Sound-Design exercise)
Article 05 : Sub BASS (Movement & Wobble) (Sound-Design exercise)
Article 06 : 808 SUB (Sound-Design exercise)
Article 07 : 808 BASS (Sound Design exercise)
Article 08 : TP-808BASS (Starter Template)
Article 09 : TKN_BASS 01 (Crafted with TP-808BASS)
( Edit 5 : Delivered :slight_smile: )


Article 10 : BASS DRUM (Explanations, Tips & Sound-Design)

( _Edit 4 : Imminent : Kick Article + Starter Templates )

Starter Templates :

Smp-Bend-Kck_TP : simple BEND-SLI Kick template
Tri-Kck_TP : simple sinewave (filtered triangle) kick template ENV2>Pitch
Tri-Kck-Fdb_TP : simple sinewave (filtered triangle) template ENV2>Pitch routed in OSC1 Feedback
Sq-Kck_TP : simple square kick template ENV2>Pitch
Sq-Kck-Fdb_TP : simple square kick template ENV2>Pitch routed in OSC1 Feedback
Kck-SRF_TP : simple kick with Self Resonating Filter
Kck-FM_TP : FM kick Template
Kck-Hard_TP : HARD kick template
Kck-Rvb_TP : FX Reverb Kick template
Kck-LFO_TP : LFO kick template
Kck-Layerz_TP : 2 voices Layering purpose kick template


Article 11 : Detune Oscillators (Explanations & Tips)
Article 12 : Pulse Width Modulation (Sound-Design exercise)
Article 13 : REESE BASS (Sound-Design exercise)
( Edit 2 : This week )


I really think the order of the Articles in a logical way and learning curve. Don’t hesitate to make it more than once and take different roads… Don’t forget to save your patches iterations each time you reach a tasty sweet spot… it’s very easy to lost a step when going too far and super easy to kill a preset, be tired and switch off … Don’t loose all the interested steps before that to happen.

After that we will tackle another very interesting chapter which is pairing, mixing and altering waveforms to get new timbre.


#250

Sub BASS (Introduction)

The Sub BASS generally sit around 0 to 60hZ and the Bass from 60 to 250hZ
The Kick generally is around 50 to 120hZ for its Fundamental. This area is like very Small and if we extend it from 0 to 500Hz there’s other sounds who will fall in that area… As it’s the Area of a lot of Energy in the mix especially in Club Music that’s an Area known as one of the most difficult to mix.

When watching those frequencies for the fundamental now you now why the 808 can be used as a Sub Bass, because it comes from a Sinewave and if we open the Sustain and Release to get it longer and play chromatically well that’s a Sub BASS now … And the characteristic of it is its Attack part with a knock and punch coming from the Kick by design :wink:

To be able to take good decisions in this area, you need to heard it ! If you have a good set of monitors it’s very nice but for the 0 to 60Hz it’s generally the purpose of the Subwoofer… And when you have a subwoofer you need more than the others to have a treated and fixed dedicated room with bass trap etc… (i’m not gonna extend here just give few hints because it’s important) Of course Spectrum and Analysis can help but don’t rely only on that.

If you can’t have that because you rent an apartment/house, or your a nomad musician… i recommend to check headphones and to buy a very nice one, probably with a headphone preamp if you can (http://www.schiit.com make very affordable from Magni 3 to Jotunheim) with the help of Sonarworks headphone reference you should enjoy your headphones and get the most of it as an analytic tool.

Also, if you have the budget check http://subpac.com i try it today and it’s so nice when you have neighbors or not the budget to treat acoustically a room. i own one SUBPAC now :slight_smile: and i’m really happy with what it provide me as i can’t get a dedicated and fixed room for music. (No affiliate link ! i’m really there to help people but you know that already…)

But mixing is for us not only for the Mastering Sound Engineer ! We must build the track before to send it so we have to deal with those problematics : a very small area of frequencies where every sound need to be heard and feel, have in mind the vinyl cut, auditory fatigue, loudness habituation, our own desire to feel the track… for a better track construction.

I will not go very far in the theory but i will still give some advice.

You must have in mind that the brain is made up of two hemisphere.The right is technical one, the creative is the left one to sum up.

Hence the complexity today of needing to mix during the creation process for many of us. It is complicated to switch incessantly without losing the creative path and it is also extremely tiring.

That’s why i recommend you one first thing.
When you wake up in the morning your ears are rested a full night of silence. This is the perfect time to mix. As you get up you would not want to put the volume very strong and your decisions in terms of Equalization, balance, compression will be the most judicious.

When i do my start to mixing from the ground up whether on a mixer or a computer i always keep my reference balance as a screenshot and i always do it in the morning. I respect scrupulously this one especially when comes the moment of the compression.

A successful compression is one that improves the dynamics at equal level between your reference balance and the compressed signal. the compression must not be a gain, if the signal increases 6dB and you leave it like that saying you wow it’s loud and slap my face … it’s already missed to go further. A/B comparison here and trust your ears :wink: Check how to use compression for better Bass and Drums transcients it’s one of the use but compression can also be used to fix things… if you can fix those issue before it is better so for fix sustain, fix it on your synth before ! Bus compression is not the same thing it’s for glueing things together. (i’m not going further here you can find everything easily)

Speaking about those frequencies and area that’s why our article 01 and 02 are simple and focus on Sinewave. You don’t need complex sound for the SubBass… you must work more on energy and movement.

The sound physically is movement : Unlike the wind, the sound does not correspond to a movement of air, but to a vibration of the molecules.

As the frequency range in the Low End is already very small and you will have to mix the kick and then the bass. I advise you to keep the sound simple, pure, smooth and under control. You can double with a sinewave your bassline. Or add rhythm in conjunction to the percussive elements or as counterpoint of the Bass drum.

The key is to feel the subbass energy and to me adding movement in the subBass by all sort of modulation is the key. Vibrato, Volume, OSC Drift & Detune, PWM, Timbre modulation will permit to your subbass to be feel because movement will be there… (of course no PAN movement we keep our Sub in the center as Mono)


See you next for Article 03 & 04
i’m a bit sick today Article will be post Wednesday the 17


#251

Downloaded and installed. I believe I’ve already used a few. Pretty dope stuff!


#252

Thanks ! Enjoy :slight_smile:


#253

Will do! I’ve been debating releasing a pack, too, with sounds I’ve made for our new album. Problem is that they’ve been mixed into a bank with sounds from other banks that I edited and saved as new and now I can’t remember which are which! I’ll have to find a way to compare them. Haha.


#254

Great tip regarding the ”mix in the morning, especially wrt compression”! I am going to try this the next time I have to mix something, I am always struggling with compression so any help in this department is greatly appreciared :+1:

I mean, I know how compression works etc and have a big bunch of UAD comps as well as a few hardware comps… But judging compression, as in ”not too much that its killing dynamics, not too little that its not really helping but JUST RIGHT”… that’s the part I struggle with.


#255

At the moment someone show me how to compressed (Transient method) now i nailed it each time from drums, bass and short sounds.

  1. Put the Attack to ZERO
  2. Put the Release around 5-10 ms (before it’s noise so just after)
  3. Put RATIO to MAX (But before Limiter mode)

Put THRESHOLD all the way down

Now raise the attack until the transients pass thru
Now Set the release you wish

Come back to more normal values
Ratio 2 - 4
Then also more normal value for the threshold
Tweak again the Release.

  • Eventually make the effect more subttle with Dry/Wet
  • Or Mix slightly to the clean signal a even more agressive compressed version but subtle in the mix (NY compression)

i personally prefer that way to the Transient designer


#256

When the sounds need more bite…
Drum Layering and Compression (Transient method) does not really make sense if the job is at the Layering step is well achieve … A glue compression bus is much smarter then :slight_smile:


#257

Excellent stuff! Will need to check this out tomorrow. Looking forward to learning. Thank you!


#258

Thanks @Studio_Cee


#259

LOWEND Article 03 : Sub2gain Patch

( sustained Sub BASS Sound-Design exercise )


No we’ve seen how to filter a Triangle to get close to a sinewave. And also, understood how a filter can be used as a sinewave generator (remember those gold value 52.70 to tune our filter on the cutoff and +32 on the keytracking to get a range of notes)

Are you ready to go further ?
Let us bringing life to the Sub2gain patch

For those who don’t want to follow this you can download the patch here. For the others i encourage everyone to make it first, save your version, then upload mine and A/B compare … You should have more or less the same…
DOWNLOAD LINK : https://www.elektronauts.com/files/450

A little reminder before, don’t forget to read the Sub BASS introduction. Also depending on your Monitors and/or headphones you can hear different results than what i get. The overall level of these Sub BASS are at max volume and as a matter of fact a bit noisy. The trick, then is to lowered you Track Level and Amp Level for a smooth Sub BASS.

The Exercise

1. If you set a Spectrum to see what’s happening frequency wise it’s better. You have all the informations just before to set up. it’s time to put yourself and your analog four in the range of our Sub Bass.

2. When designing a Sub Bass, a complicated task is to make it work in the mix with your kick. It is not a simple task. Also, you need to have in mind something else, your Sub at the end must be at least feel, if possible feel & heard a bit… Few extra harmonics can permit to the sub Bass to be heard… When a pure tone without harmonics can double the Main Bass and give more emotions and vibrations in our bodies. It’s a common practice to write a piece of club music between E and A# (and all in between) regarding how are able PA System generally to translate the Sub Bass correctly. Try to not go lower than 40hZ… and if possible try to keep yourself before the fundamental of your kick. (Now you understand why Spectrum is important)

Analog Four Poly config and Sound settings will be important here, i encourage you to try Legato, Glide and Unison 2 voices… in this kind of sound (Because of "lost gain from filtering the triangle check exercise 1) We go in here and check 1 & 2 voices in Unison mode. We keep things in the center… just a bit of loudness and gain…

3. Oscillator 1 settings
As explain in the Article 01 : Sinewave - We will use a Triangle and filtering odd harmonics then. Pay attention to something here. Try first to set TUN to -12, play some notes and activate the SUB OSC to 1OCT … sound Weird right ? because it’s too low and our Monitors or Headphones have trouble revealing these frequencies (and also because the sub is a square) the trick is when you will use the filter then to get your Bass or your Sub BASS as it’s substractive synthesis we start with Raw Waveform and we filter then to get what we want (here i can say that only because it’s a bass there’s not so much modulation… for now…) So Keep the Main Oscillator high enough to get a pleasant Sub OSC, we don’t care it will be filtered after…

( Information : You can only use the Sub OSC too and deactivate the Main OSC but here we want a kind of Sinewave in our sub )

Values are : TRI, TUN = 0, LEV = 127, SUB = 1OCT, PW - 11

4. Oscillator 2 settings
We gonna make our Sub BASS Tone a little bit more interesting and mix a bit of a Low 303 in our Sinewave base.

Values are : TRP, TUN = -12, LEV = 52, SUB = 1OCT, PW - 20

Mmm we want OSC RETRIG here so activate TRG = ON


5. Filter settings
Now that’s where things become more interesting, Ladder Filter shape the Sub Bass (it remove unwanted part of the Raw waveforms and make our a sound more a Bass now… as we play in the range of the Sub Bass yeah you get it…) Now what is the purpose of the Multimode Filter 2 here, It enhances our very low frequencies a bit like an EQ

Values are : I don’t give any values here … i want you to FEEL IT you have the guidelines on the screenshot…


6. Amp Envelope (we Sculpt our sound relative to its nature)
Don’t forget what i said i would like here a playable sustained Sub BASS here… so…

7. Filter Envelope (How the filter react to it’s envelope…)



What we can do from here

  1. First we can make our sound more smooth by lowering the Track Volume and Amp volume… it will need a bit of gain after so you should probably find your own way for that. At max it’s a bit noisy, more around 90-100 values the Sub BASS is way more beautiful to me, clean and very effective.

  2. The Sub BASS Melody or LINE, how you play it (the range of note) as i said earlier is very important, quality of your monitoring system as a huge impact on your design, decisions… that’s why i made an introduction to speak about that. As i said too try to avoid sub bass notes in your melody under than E1 ( 43.65 Hz) it’s a matter of PA Club System here… Rumble and things like that… Vinyl cut etc… Anyway the learning content here is not a Mixing Course… i keep it simple and only gives useful hints without to give headaches to everyone… and relative to sound synthesis regarding the LOW END range of frequencies.


#260

LOWEND Article 04 : SubPeaked Patch

( Feedback Sub BASS Sound-Design exercise )

Normally you should have your Unison activated in Poly Config and Voice 1 and 2 checked ! if not please go back to Article 3 to see how Poly Config is Set.


No we’ve seen how to make a clean Sub BASS but more interesting than a utility one. Time to take a step further in the Sub BASS register.

For those who don’t want to follow this you can download the patch here. For the others i encourage everyone to make it first, save your version, then upload mine and A/B compare … You should have more or less the same…
DOWNLOAD LINK : https://www.elektronauts.com/files/450

The Exercise

2. Oscillator 2 settings pay attention here we’re gonna set a filtered triangle to get close to a sinewave one octave lower TUN = -12 and we Boost it at max to recover the dB loss from the filtering process. We start by OSC2 because we gonna try to give a little boost and grits to the the sinewave with the Feedback option and this option is in the OSC1.

1. Oscillator 1 settings Activate the Feedback First in the Waveforms selection and crank up the volume until you find the sound interesting or boosted as you wish. i set a Level = 84, then we mix a 1OCT SUB OSC with everything to get a more interesting Timbre… (as the Sub OSC is always 1OCT Lower we keep it at TUN = 0 to match the OSC2 TUN at -12 …)

3. Oscillator 2 options Now you will learn a new thing there, except the OSC Retrig you already see in the Article 03 you activate that, We introduce in this sub a dynamic attack just to give a little boom at the beginning so we set the BEND and SLI to respectively +25 and 27… I will give an option there if i want to play this Sub BASS Sustained i want some movement inside, a simple vibrato but i don’t want it to start when i hit the note but later in the sustained step of the notes. For that we set the Fade (Fade IN here for instance it will delay to a bit later the moment we start to hear the vibrato, value is -44) And we set the SPD (Speed) to 35 and the VIB (Vibrato) to 46

Note : If the desired effect is achieve with this simple control : USE IT, if you can’t find a matching with what you hear or what you have in mind you will have to reproduce that with a Pitch envelope modulation mimic the BEND and a LFO eventually on volume depending of the vibrato effect you looking to finally have more control… If you can get what you after with this simple control i recommend to use it. You can also use it to get an idea and then going to looking for a more precise handle of these effects in the sound later…

4. Filters settings
Time to sculpt the sound and that’s why i called it SubPeaked : this time we will use a Peak Mode of the Filter 2. Firstly set the Ladder Filter to a more Sub BASS sound value i choose is 42.26 … i would like again to bring some texture so we add a little bit of Overdrive so +7 on the A4 MKII and -7 on the A4 MKI … And also not much but a little bit of opening frequency wise on the attack of the sound F1 DEP = +5
Now a bit of EQ shaping FRQ = 14.16, RES = 27 and a little bit of negative filter tracking = -13


5. Amp Envelope settings
Here we set a sustain sort of AMP Envelope and we use a Drum Shape the model 11


7. Filter Envelope (How the filter react to it’s envelope…)
Here we control how the filter react we make it close a bit faster with the decay value to 36… and we change it’s shape to the model 3



What we can do from here

  1. You can play this sub Bass like a percussion… You Play it sustained and sometimes let the Vibrato create some interesting variations…

  2. We probably at some point speak about the Elektron sequencer (probably in the REESE exercise) because it’s the typical stuff you should try to extend the interest of your Sub or BASS line (if it’s the effect you after…) P-Locking rate of the LFO but in a Rhythmical way is the Key :wink: The way you should use the Step or Performer in Massive VST…


#261

LOWEND Article 05 : SubDamaged Patch

( Movement, Wobblish Sub BASS Sound-Design exercise )

Normally you should have your Unison activated in Poly Config and Voice 1 and 2 checked ! if not please go back to Article 3 to see how Poly Config is Set.


No we’ve seen how to make a interesting sonic Sub BASS. Time to take a step further in the Sub BASS register and add a little bit of movement. (We start from scratch again as every patch here)

For those who don’t want to follow this you can download the patch here. For the others i encourage everyone to make it first, save your version, then upload mine and A/B compare … You should have more or less the same…
DOWNLOAD LINK : https://www.elektronauts.com/files/450

The Exercise

1. Oscillator 1 settings
Shut down OSC1 by selecting OFF in the waveform, we gonna use a Sub OSC = 1OCT, Level at 127 for a more smooth version you can mix waveforms differently and lowering the Level of this Sub OSC Square to something less pronounced but i would like something buzzy here.

2. Oscillator 2 settings
As usually with our Sub BASS Sound Design we set our base sinewave’ish to TUN = -12

3. Filters settings
Simple configuration for the Filter here we only remove odd harmonics a bit to get something in the Sub BASS register. Filter Cutoff = 45.75 in LP2 Mode.


4.Amp Envelope settings
Important here is to set a Sustainable Envelope otherwise you can’t be able to hear movements & wobble introduced by the LFO modulations at the END ! That’s an important point for every sound-design sometimes you make it to short like a piano kind of envelope or short bass then you want to introduce movements but you can’t hard it it’s because of the Sustain and the Release. (Always have that in mind)


5. Filter Envelope (How the filter react to it’s envelope…)
Nothing crazy here…


6. Adding Movement and Wobble with LFO settings
LFO1
That’s the important part other steps before was just get the low tone, filter odd harmonics… get something buzzy. Here we gonna work on the “Feel & Hear” the Sub BASS as discussed in the introduction… The first thing i done is modulate the Overdrive so it gives movement on altering the timbre and making it from clean to gritty like a vibrato style effect… we also do the same on the Filter Frequency F2 so we’ll be able to heard the Sub BASS better… when playing it sustained. in TRIG Mode we don’t want the LFO to be free here but retrig each time a note is hit.

Then with LFO2, we set a vibrato but not applied when hitting the note… so Fade in = -40 and Vibrato on VOL = +25 in TRIG Mode we don’t want the LFO to be free here but retrig each time a note is hit.


That’s the End for the Sub, What’s Next ?

  1. Next we’ll learn how to make a 808 Bass / 808 Sub Bass it will be fun ! There’s more than one way to achieve it. This sound is one of my favorites ! it’s also a widely adopted sound in HipHop, Trap Music Genre… Prepare yourself to a very Loud and Punchy Bass :slight_smile:

  2. Next of course we only have a little baby step to build a BASS DRUM because the 808 Bass is a more soften pitch envelope with a little bit of release. With few adjustments we get a Bass DRUM (Kick) but i warn you it’s not that easy to get a kick drum because with small adjustments here and there you can get many different results… Because we are too used to hearing it treated, compressed… Thanks to the A4 envelopes models we can get very nice Bass DRUM from it. And pairs with the New RYTM MKII and Sampling capability if you have both : you are more than ready to get every kick you can have in mind creatively !!! Add a HEAT then, and well … you have the whole chain to design every Bass DRUM you can looking for… (considering Processing with what we have and get then of course…)


#262

LOWEND Article 06 : 808Sub Patch

( Punch, LowEnd Sub BASS Sound-Design exercise )

Normally you should have your Unison activated in Poly Config and Voice 1 and 2 checked ! if not please go back to Article 3 to see how Poly Config is Set.


Now we’ll learn how to make a 808 Bass / 808 Sub Bass it will be fun ! There’s more than one way to achieve it. This sound is one of my favorites ! it’s also a widely adopted sound in HipHop, Trap Music Genre… Prepare yourself to a very Loud and Punchy Bass. A Template here is delivered as a start point for any sound-design based on its characteristics.

For those who don’t want to follow this you can download the patch here. For the others i encourage everyone to make it first, save your version, then upload mine and A/B compare … You should have more or less the same…
DOWNLOAD LINK : https://www.elektronauts.com/files/450

The Exercise

1. Oscillator 1 settings
Started as well (now you are a pro with the Sub Layer using the TRIANGLE filtered to get that Sinewave) -24 full level

2. Oscillator 2 settings
Then as you can see LEVL here is at 0, but we set this Oscillator and when we finish the sound you can come back here and try slightly to bring the level up… and find you own waveforms mixing by introduce a bit of grits in this 808 Sub… Generally this sound is clean so if we make it dirty it’s something else but anyway maybe you’ll like it too :slight_smile:

3. Oscillators options
To make things simple here we give life to this 808 Sub by using the simple control BEND and SLI … because that’s what we looking for here so BEND = +63 and SLI to 44 … Oh we want gain OSC RETRIG here so TRG = ON

4. Filters settings
Now the Filters Ladder remove odd harmonics and shape our sounds to be Subby and very Low, we add a little bit of Envelope Depth here to +16… Multimode filter will boost the Bass Frequencies if it was a BASS the Cutoff would be around 30-50 as it’s more a 808 Sub style we are a bit lower 18.25 and same a bit of Envelope Depth +13


5.Amp Envelope settings
Here we sclupt the sound to its nature, or the nature we want it to be. Sustainable a bit of release to be able to Play a Bass Line.


6. Filter Envelope (How the filter react to it’s envelope…)
We adjust this one as we want the filter envelope to react in time, for each note … this is the principle of the envelope… and we use another model for the shape.


Great 808 Sub right, now What’s Next ?

OH BEFORE please read that :

  1. As i said now you can try to mixing waveforms from OSC2 and bring harmonics to make a more noisy or gritty 808 Sub… Maybe you can add a little bit of Overdrive too…

  2. Or we can make an introduction in the Amplitude Modulation as we prepare are OSC2 on a Square Waveforms, go in Oscillators options (Twice click on OSC2) activate AM1 because OSC2 Square will modulate OSC1… Now feel how OSC1 Timbre can get Altered by firstly TUN parameter, FIN & DET… And Also PW, SPD, PWM and LEVEL… Experiment, don’t try to go further with that i will come back on Amplitude Modulation later… But you probably already save few patches from this ! Congratulations … I hope you find some great AM Bass there…

Note : as we probably lose a bit of focus there… because of the What Next ? experimental suggestions i made … I encourage you to follow the next article later. Make a Break…


#263

Side Note :

In the END of the Article 06 on 808 Sub Bass, i encouraged you to experiment in the What’s Next section. Coming back to that to speak about a fundamental notion in Sound Synthesis :

Saving Iterations
I can only insist on this point, it is essential really! Because you probably heard about the “Sweet Spot” notion…i don’t really like this designation anyway, there’s “Sweet Spots” and trust me there’s a LOT… You experiment and you will find some pleasant things to happen…

Quite honestly every time you make a baby smile at birth, you’re stuck on a melody with the current setup … it’s very likely that it’s an iteration to back up ! So please when it’s happen think to me and say oh william told me about that moment… i will copy the sound TRK1 Copy and i will paste it on TRK2 before i screw it… or Sound Manager > Store TRK sound… And call it : whateverthenameyourwant-01

And as long as you have not re-initialized your TRK to start on a brand new sound-design. Each time you see this baby smile or you find a tasty melody with a different sound from the whateverthenameyourwant-01 AGAIN SAVE IT to whateverthenameyourwant-0203, 04, 05, 06, 07, 08 You don’t care you 14 bank…

You will previewing later all iterations and keep only the ones you really like… maybe the next day ! it’s a good practice to let your ears calm down and coming back on your sounds with clean ears… There’s things you gonna dislike and things you like even more… maybe you will tweak it again and save a much better version of it.

DONT LOST SOME SOUND DESIGN or SWEET SPOT because at some point you will be tired and you will switch OFF you machine ! and if you haven’t saved your iterations … you may have lost one afternoon plain and simple and it’s not good !


#264

Of course it’s the beginning so it’s start from the basics, it’s easy for now… BUT

I’m curious to have feedbacks from you… Do you started to try those Exercises ? Do you wait for the printable Booklet because you prefer to print it so you can put if on the table side by side with your Analog Four and Focus on with it… you will be able to do that at some point anyway don’t worry

What do you think of the articles at the moment ?
Do you understand me ?
Am I going too fast or not enough?
Did you learn things?

Or any thoughts you can come with don’t hesitate to reach me, PM if you prefer, publicly as well :wink:

Cheers Nauts !

William