So i made this thread in hopes of picking up some techniques you fellow heads use to get your ideas out.
- What parameter do you find yourself tweaking first?:
Eat Bass wrote:mainly just go about shaping the original osc waves first ofc, then filtering, etc. specifically, when i rewire reason to logic and use malstrom, i prefer to find a waveform that i enjoy, and then i move the motion knob way down and then slide the index slider around to find individual grains that i like. its crazy really how many possibilites there are with this. once i find a waveform and an area of the grains and a rate of motion i like, i move to the second osc to shape the sounds to what im looking for.
JTMMusicuk wrote:i normally try different combinations of oscs until i find the kinda style im going for then route the filters (in massive) going through each other, so osc-filter-filter-instert-fx-master, if im not making a wobble theres still usually a small amount of movement from lfos or envelopes to keep the sound interesting.
therapist wrote:Rough osc/sample sounds, amp envelope, filter envelope, tweak all above, effects. That's about mine.
dididub wrote:Sound -> Filter -> Envelopes for filter -> tweak sound
cmgoodman1226 wrote:I'll usually just start with a saw wave, I'll carve out a bassline that I like, and THEN from there, I'll start to design the sound I want. I find it easier that way because it's much simpler for me to design the sound around the melody rather than the melody around the sound. It gives me an Idea of what type of sound I'm looking for as opposed to just fumbling in the dark for a random sound that I may like. BUT, then on other days (pure sound design days), I go into whatever synth I'm using with a goal, Either I want to make a pad, a stab, a lead, or a bassline. And then I just go to work.
narcissus wrote:create 'em all on the spot... but they are already there to begin with. i've made so many damn sounds, i know what i like to hear... but creating them fresh each time gives them chance to evolve and take different directions. i very much like to use classic simple sounds in new ways, i get a lot of mileage out of saw and detuned saw, lots of lowpass filters (especially with downward envelope) lots of gritty claps and hats, and deep kicks.
e-motion wrote:I rarely sound design while writing a song. I have sound design sessions separate from my writing sessions (because spending too much time tweaking a knob can kill the inspiration) that generate me a lot of patches or ableton instrument racks to use later.
cmgoodman1226 wrote:It varies. Sometimes I wind up with a sound I like in 5 minutes, sometimes I spend hours tweaking something only to find the next day that it sounds god awful. This is part of the reason why I bounce out religiously and save new versions of every project so often. Maybe I made a sound that is decent, but then just spent the last hour ruining it with effects that I thought sounded great at the time. If I didn't resample, I'd pretty much be fucked and stuck with a shit sound, but since I did, now I have the older version or versions of that sound to go back to, and the methodology is saved in the effects chain if I ever want to go back to the original patch.
cmgoodman1226 wrote:Sometimes it takes me days, sometimes it takes me minutes; it all depends on the type of the sound I'm trying to achieve.
cmgoodman1226 wrote:I am also really well organized (had to learn this the hard way when I had separate projects with basses and leads named the same thing all in the same folder-> needless to say I scrapped those songs). If you look into the "my beats" folder each song will be organized in its own project folder. Furthermore, I separate all the elements in the song. I'll have a folder for "drums" and "lead 1" and "lead 2" and "bass 1" and bass 2, etc and "samples". And I also use the first few letters of the track name before every sound so that I don't have 30 projects with files named "snare 1".
In regards to the second part of the question, I know there are plenty of samples that can change pitch without changing the speed, but I'm not usually interested in that. I don't typically take on filter movements until AFTER it goes into a sampler, so it doesn't matter if it gets sped up or slowed down a bit. I usually just export 8 bars of one note (usually C, but sometimes I like the movement better on other notes), and that way I know if the speed changes it won't matter, because I still have 8 bars to work with.