Results for [lfo casper] :
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Synthopia on 2/24/11
Berlin boutique instrument company MFB is working on a new keyboard synthesizer – the MFB Dominion – according to a post at sequencer.de. Here are the details (Googlish): high quality analogue monophonic synth - 3 octave weighted keyboard with aftertouch pitch / bend and mod wheel arpeggiator, sequencer function (synchronized) 3 vco with FM and sync, pwm, saw / trangle mix 3 lfo (2 used as envelope) into the audio range Ringmod & noise MultiFilter (8-12 types) of a known filter development berlin 2 analog and fast envelope generators (voltage controlled), therefore easy to control at low cost high quality VCA digital delay (tbc) storable sounds midi and cv / gate controllable midi output quality pots, switches and knobs steel case with wood side panels Price: less than [...] Relative News
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AudioTutsPlus on 3/1/11
Continuing on from my last tutorial on creating synthesised tones for sci-fi vehicles with Reason, the following example will demonstrate further sound modulation control using the Combinator. In the previous tutorial, we created the fundamental tone, shape and character of our vehicle sound through sound synthesis, layering and processing. If you have not already read this tutorial, you can find it at the following link: Part 1 – Creating Tones Step 1: Using the Combinator In the last tutorial we used the Combinator device to layer two synths, allowing both to be triggered via the same note track in the Arrangement section and also to process both signals together dynamically. Using the same rack setup, we”ll now use the programmer section of the Combinator along with its rotary controls to modulate various parameters on both synths. On the Combinator interface, rename the first three rotary controllers to “Filter”, “Volume” and “LFO Rate” respectively. If you have a MIDI... Relative News
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AudioTutsPlus on 2/9/11
Hi everyone. In this tutorial we are going to create a growling pad that has a slow but sharp attack and has motion in the sustain and release. For this tutorial I will be using FL Studio’s Sytrus but any FM synth can work as long as it can have tempo based envelopes. Here is an example of what we will be creating… Download audio file (final.mp3) Step 1: Creating the Base Sound First reset your synthesizer to the default patch so you have nothing but a basic sine wave. Go to your first operator (FM synthesis version of an oscillator) and create a saw wave. Offset the shape of the saw so its slightly skewed on the ends; a value of 45% in Sytrus. For those of you who do not have a shape value the saw should start to become a triangle wave. The volume envelope should be set to tempo based time and the attack, decay, and release are as follows… The attack should end at beat four with a peak volume of 75%. The tension point should be at 9% Decay should end at beat four with... Relative News
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AudioTutsPlus on 4/11/11
This entry is part 3 of 3 in the series Synthesising Sci-Fi Vehicle SFXIn the last tutorial on sci-fi vehicle sound design, we programmed the Combinator to control three main elements on both synths: Volume, Filter and LFO. By modulating these parameters over time, we can create realistic sound effects, which stimulate both the perspective of the sound source and the perceived speed of the vehicle. In the next part of this series, I’ll be creating an additional modulation effect that will enhance the overall character of the sound. You can find the previous tutorials in this series at the following links: Part 1 – Creating Tones Part 2 – Sound Modulation Control Step 1: Programming the Modulation Effect To create this new effect, we’ll further distort the first synths main oscillator by adjusting its shift. In this stage of the process, we have a Combinator comprising of two synths or two layers: bottom and top. In the bottom layer, two oscillators and two modulators are... Relative News
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AudioTutsPlus on 1/10/11
// Today I would like to show you a mini pluck sequence. I use this sound quite a lot in my productions, and invented the term “mini pluck”. It is used in several trance songs – especially in uplifting trance – but you can use other genres as well In this tutorial I’ll show you how to create a “mini pluck downer” type patch in Sylenth. This is basically a pluck arpeggio with a filter being modulated in a random rhythm. I use Ableton Live to create it. It is suitable for giving backing support to other parts of the song. Other words it’s a backing track just give some feel your tracks. Step 1: Create a Track Let’s insert a MIDI channel in Ableton and insert the MIDI clip. The length of the clip is three bars. Change the grid to 16th notes and draw some notes on C#4, E, G#, A and don’t leave any silence between them. So as you see the notes is rising on the scale. Duplicate this sequence until you reach bar 2.3. So the sequence looks like the following. This will act... Relative News
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AudioTutsPlus on 1/20/11
In the first example, we’ll use volume automation to make a flexible sidechain effect, and in the second example, I’ll show you how to use creative volume automation to give a track room to breathe. I’m using FL Studio, and these tips are useful for all DAWs. Step 1: Setup First, let’s have a listen to what we have right now. Download audio file (01volpad.mp3) If you’d like to learn how to make a sound like this, check out the Reverse Glass Tutorial. But for this tutorial, we’ll begin by adding a volume plugin to the mixer track. I’ll be using FL Studio’s Fruity Balance. Next, create an automation clip controlling the volume level. Step 2: Design Now we have a volume envelope. Let’s zoom in on one bar and draw the shape so that it ramps up from 0 to 100 on each beat. Download audio file (02volpad.mp3) Let’s slice this bar and paint it across the playlist to save us the trouble of drawing this shape a lot of times. Download audio file (03volpad.mp3) Now I’m... Relative News
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AudioTutsPlus on 1/19/11
This tutorial will show you how you can build an organic sounding ‘super flanger’ using the RV7000 and a combinator in Reason. This effect can really add some life and movement to drums and other sounds in your music, and takes advantage of the unique wiring options offered in Reason. I have used Reason 4 to make this effect but any version of Reason from 2.5 and upwards is fine. Below is an example of the kind of effect you can create with this device. Download audio file (audio example 1.mp3) Step 1 This process will be easier to understand if you know a little about what actually creates a flanging effect. Flangers are essentially the same as delay units, but with a very very short delay time. In this first audio example I am using the standard DDL-1 delay unit in reason, with a simple drum hit being played as I shorten the delay time. The first hit has a delay time of 191 ms, and the last one has a delay time of just 30 ms. Download audio file (audio example 2.mp3) You... Relative News
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AudioTutsPlus on 2/7/11
In this tutorial, I will be using the Malstrom synthesiser in Reason to create electronic tones that can be used while designing engine sounds for vehicles in the sci-fi genre of film and other video based media. The Malstrom synth is extremely versatile and its modulators are perfect for creating post production sound effects. The following example will demonstrate the starting point and fundamental structure of sound synthesis for a sci-fi vehicle: the tone, shape and character of the engine sound. Download audio file (example.mp3) Step 1: Using the Malstrom The Malstrom is a graintable synthesiser that uses a combination of granular and wavetable synthesis to produce sound. The wavetable element of the synths oscillators are ideal for producing sound effects of this nature, as the variation of tone and modulation adds a sense of realism to the synthesised sound. For designing the engine sound of this sci-fi vehicle, I will be creating two layers: bottom and top. The... Relative News
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AudioTutsPlus on 3/23/11
When you are programming any analog style synth patch it always pays to have a few tips and tricks up your sleeve to spice up proceedings. Regardless of what style of patch you are creating it only takes a few choice moves to transform a dull lifeless patch into something really useable and exciting. In this tutorial we’ll take a look at several simple techniques that’ll help you with your programming and hopefully make your patches a whole lot more interesting. You can use nearly any virtual analog soft synth here as the techniques demonstrated are generic. Step 1: Oscillator Detune One of the simplest ways of adding width to your patches early in the programming process is to use detuned oscillators. If you are not familiar with this technique start with a simple, single oscillator patch and add a second duplicate oscillator. In other words, if you are using a saw wave add another saw! Simple. A simple single oscillator patch. Download audio file (1.mp3) The single... Relative News
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AudioTutsPlus on 12/30/10
// It’s been a big year! In 2010 we’ve seen some great tuts, some interesting series, and introduced Quick Tips. We recently published our thousandth post. I’d like to thank our brilliant authors, and also thank you—the Audiotuts+ community—for your interest, involvement and comments. Here are the Top 15 posts of the year, categorized by written tuts, video tuts and articles. Their popularity was measured by taking into account the number of times they have been visited, and the number of comments they inspired. Congratulations to all of the authors involved for your useful and insightful work, and for often going beyond the call of duty. Top 5 Written Tutorials How to Create Organic Ambient Instruments in Ableton Live Alkis Livathinos In this tutorial we are going to use Ableton Live’s “Sampler” and some of its built-in audio effects to produce wide, organic, ambient textures and pads, originating from a single one-note instrument sample. It’s a great way to create... Relative News
