How to Make a Great Synth Bass Sound: Explaining Kae Tempest's "More Pressure" PWM Bass скачать в хорошем качестве

How to Make a Great Synth Bass Sound: Explaining Kae Tempest's "More Pressure" PWM Bass

Here's a quick beginner's video explaining a simple but amazing bass synth sound you can make on any synth (or plugin) with PWM and an LFO. I'll explain PWM, important details, and how Kae's amazing tune shows that less is so often more. Step by step instructions in description! NOTES: I'm using a Korg ARP2600m here, but any 'classic subtractive style' synth with two oscillators (or one oscillator and a sub-octave generator), a filter, an envelope with ADSR controls, a sine wave LFO, and importantly a PWM control on the oscillator, can make this sound or something very like it. More Pressure By Kae Tempest:    • Kae Tempest - More Pressure ft. Kevin Abst...   SUPPORT THIS CHANNEL: 👉 Support the channel on Patreon:   / mylarmelodies   👉 Help the channel by buying stuff at Gear4music with this affiliate link!: https://tidd.ly/3ha7yhv STEP BY STEP RECIPIE: Before we start: I didn't mention the "Amplifier" ADSR settings in the video as they are less important than the "Filter" ADSR settings. So for the 'Amplifier' Envelope, have Attack set to zero/shortest, the rest can be set quite high, or matching the Filter Envelope settings we discuss below. 1. Open the filter Cutoff up fully so you can really hear the PWM modulation clearly. It'll sound too bright but we'll fix that in a moment. 2. Set Filter Resonance to zero. High resonance sounds really cool, but it will likely also reduce the amount of bass you hear, so for the warmest bassiest sound, set it to zero. 3. Turn down all your oscillators in the mixer section except one. 4. Set that Oscillator, let's call it Oscillator 1, to Square Wave. 5. Take a sine wave LFO (or triangle if you have it) and use it to control/'modulate' the amount of PWM of Oscillator 1, by a small amount...10% or so? (The way you do this will vary from synth to synth, check the Oscillator section of your manual) 6. Adjust the rate/speed of that sine wave LFO and listen to the rate of PWM now occurring, get it where you like it - something like a few cycles per second. You may also have an initial PWM setting on the oscillator too, and you can adjust this, in combination with the 'PWM amount', to get different levels of PWM - it will sound thinner or thicker. On some synths you might even be surprised to hear everything go silent for a split second and think you've broken it, but what is happening is that you're squeezing the width of the square wave so much it's literally disappearing. Reduce the amount by which the LFO is modulating PWM, and/or adjust the initial PWM control and you'll find a balance where you get nice subtle animation/movement, without the disappearing happening. Less is more. Just make it shake a little. 7. Now turn the Filter Cutoff down so that the sound becomes more muffled and dark, but where you can still hear that 'PWM' movement occurring. 8. On your synth you will have a way to allow you to make an 'ADSR'/Envelope control the Filter Cutoff setting. You may have a dedicated 'Filter Envelope', as I do here, or you may just have one. Use this 'amount' control (which is likely located near the Filter Cutoff control - certainly in the same section) and make it so that an Envelope is controlling the Filter, by a small amount, maybe 10% or so? You'll know it's happening if you temporarily put Filter Cutoff to zero/lowest, and the amount control to 100%, and play with the Attack control, and hear things changing. 9. Now set your Filter ADSR/Envelope controls so that A (Attack) is to Zero/Fastest, S (Sustain) is high, R (Release) is high, but then you need to adjust D (Decay) so that you get a nice initial 'pluck' sound. 10. You will probably need to spend a good while adjusting Filter Cutoff, Envelope Decay, and the control that applies the Envelope TO Filter Cutoff, to get just the balance where the sound is dark, but not TOO dark, and there is just the right level of pluck, where the pluck isn't TOO bright. 11. If you have a second oscillator, or a sub octave generator, set it to square wave, and turn this up a little bit on the mixer and make it so that the second oscillator is 1 octave (-12 semitones) below the main oscillator. This will add additional sub-bass and fatten up the sound further. It may also be overkill! 12. For bonus points, a tiny little bit of drive/distortion will add warmth/aggression to the sound, and you can also add a tiny touch of reverb as in the Kae Tempest tune. On the ARP2600m I use here, the drive is applied automatically ;) That's it! Why not save the patch for use later? Simple sounds like this are always useful, and will sound incredible on a big soundsystem.