Ooh also very exciting thanks I’ll check it out!
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for orchestral EastWest is pretty much all you can ever need. It’s pretty simple to use as far as I can remember and it just do exactly the hollywood style orchetra really quickly!
http://www.soundsonline.com/hollywood-orchestra-opus-edition
reverse engineer bro
you wanna know how i learned synthesis? i took preset patches on some hardware synths i like and just twiddled the knobs to get them in the proper place. the bass station and the MS2000 for instance had little lights that would blink when you put the knob in the same spot as the preset.
so you can take this dude’s patches, or any patches and just copy them over yourself doing the hard work. i’m actually currently in the process of doing that with the Digitone to better understand FM. especially some of those wild, metallic percussion sounds. i’m nowhere near good at it yet but i’m coming to grips with it better and frankly haven’t spent all that much time.
I took a sound design class once and the lecturer was well versed in super collider. just like drawing, or creating 3d objects from scratch, he could ‘imagine’ the type of sound he wanted to create, then go about coding a program to create it. for instance thinking bouncing ball, sharp attack, fm as others have said, a touch of delay etc. it was quite impressive watching him do it, but I guess it’s not too different to using a synth in traditional ways, but with supercollider I guess it’s like calling up what you need over using a full blown instrument.
perhaps even just some samples of hitting wood or metal, a touch of delay. sometimes it can be super nice to get into a studio and go the foley route, the weird things can end up making the ‘right’ sound, and not the thing u actually intended. Plus it’s super fun being in the studio doing all that stuff
freesound.org is another great resource. I think for a sound designer, all bets are off to a degree, just go to town and forget about ‘who’s sounds are who’s’ etc, you could say the synth designer of Elektron machines own the sounds we create with them if that’s the case, and that kinda thinking will only hold u back
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If you want to have them as close as possible to true physical sounds, I would recommend to check out sampling.
If possible, create your own field recordings, if not, check out sample instruments, which come close enough to your requirements and treat them with FX as needed.
It’s not a bad idea to check out Komplete. Since a couple of years they have instruments, which might have what you are looking for.
- Mysteria
- Thrill
- Unacorda
- The Giant
There are very good instruments made by Heavyocity: https://heavyocity.com/
Physical modelling synths could also be a direction to go:
As an example AAS (Applied Acoustic Systems) have specialized on physical modelling synths and there are a couple more …
https://www.applied-acoustics.com/
I had a question that seemed to be general enough to revive this thread. Perhaps those here may have some ideas?
How would you approach sound design for the bass in this track?
Simple saw with some glide now and then gets you there. Nothing special imho. You need to find the sweet spot on your filter, to get that sound. Sounds a bit analogish , if you use abeltons analog synth, it can probably get you there. (or any other software synth also.) (Probably even a downtuned 303 is used here in this example.)
Oh, and tape saturation plugins are also quiete helpful for this type of sound. I would assume that somebody played the bass, and then quantized afterwards with not 100%. Sounds pretty organic to my ears.
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Thank you for this.