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Image when this thread has 100 posts, you could take your sound design to the next level just by reading it.

Please share the tip you think no one will know and one application.

My tip:
Ever wanted 2 detuned waves to beat in time with the music? Set the waves to the same pitch then apply a LFO the the pitch of one of the waves with a setting between 0 and 1 semitone (depending on desired detune amount). The waves will now beat with the LFO rate on every key and you can control beat rate independent of detune amount.

Works great for tempo synced reese phases.

I thought this was just gunna be a bog standard thread we have here all the time but thats actually a sound idea, cheers man

Assign an LFO to the pitch, and play one note while increasing the speed of the LFO. Eventually it will start self-oscillating or whatever it's called and you can bounce out that note and resample.
Play around with how many semitones deep it's going and stuff.

Get a good synthesiser.

get your hands on every ripped gamesound folder possible

BudSpencertron wrote:get your hands on every ripped gamesound folder possible

This is about synthesis sound design.. I think you may have misunderstood this as sound tips or sample tips :p

Don't forget to crank the voices up on your synth if the sound isn't quite thick enough or loud enough for you.

blinkesko wrote:

BudSpencertron wrote:get your hands on every ripped gamesound folder possible

This is about synthesis sound design.. I think you may have misunderstood this as sound tips or sample tips :p

granular synthesis?

Automating the Pan width the the same LFO creating your wobble (LP, BP, whatever) is nice in some instances. So the sound feels like its moving up and down as well as in and out.

When making "brostep" or electro basses/midrange and also reese based stuff, I find it quite good just layering a fat saw bass completely mono underneath the main sound I'm going for - can really help to add a bit of weight. Obviously you need to take into account any clash you may have with your sub so proper EQ'ing & volume modulation is required to get everything to layer nicely without it being overtly obvious you have a saw blaring notes as well

A really interesting thing I came across involves using a sampler to introduce waveforms. It goes like this:

- Find a source, could be literally anything at all, vocals, field recordings, your favorite Miles Davis tune
- Zoom and cut a second or two of audio
- Chuck it into a sampler
- Loop it and make sure it's all smooth and whatnot
- Tune it. A4 = 440Hz

This essentially "creates" a new waveform using whatever source material. Obviously by itself this sound may fall flat, but when have you ever used a raw saw wave on its own? The same techniques applied to saws, squares and sines can be used on your new waveform. Layering it with traditional waveforms is a cool way to get your own little vibe on synths and stuff.

Also I realize this could be old news to a lot of people but I was blown away when I first heard of it so I felt I should share.

A nice way of adding upper harmonics and grit to a sound without destroying the mid/low end is using parallel distortion.

Have a dry channel, and a wet channel with a distortion effect. Set the dry wet knob to 20-30% and boost the gain to 6-8 db, then eq to taste. Does wonders to kicks, snares, and bass patches.

Good tips so far, sometimes a new trick can spark a whole session.

I`d like to share a technique i use, which is fun and useful...

I have a korg nanopad which has a decent x-y controller (this is what makes it fun). In FL I guess you can hook up your joystick and use the built in x-y...

Play a simple drum loop and route your kick and preferably snare to a track with a peak controller. Load fruity granulizer and place fruity panomatic and link it with the peak controller, select "inverted" and be sure to set the main volume on the peak controller correctly. All the effects you are gonna place on this channel can be placed before or after panomatic, your choice. I know I often place dblue glitch and use its gate and dfx buffer override...

Link grain width and grain space with x and y. Load any wav in granulizer, record in edison what you play and choose what you like and maybe process it even more.

What I get with this is little fillers and noises that I place before a kick or a snare or just to fill the gaps.

Nice tips, the thread is starting to take shape.

I think this is an amazing idea so ill pitch in as well instead of just praise you.

Place a sampler on the top and bottom of a bus. The top one will be your source, the bottom one the recorder. Now take any interesting sound into the top, and start playing random sections of it, on endless repeat. You could take a really small chunk to get an 'fm ish' effect, or just stutter something, chop it up or play the whole sample. While your doing that, record the output into the bottom sampler and make it set 'loop markers' if possible. Makes it much easier to use that output.

In fruity i do this with 2x edison, and it leaves me 6 fx slots between the 2 samplers, thats where the fun comes in. Basically while playing your top sampler you could macro a bunch of fx to open and close or do whatever you want during the recording. Often i fuck around with it all and record half a minute or so, and start looking for cool sections in that recording.
Maybe this is really obvious stuff but i thought it was interesting to experiment with. Basically its a kind of resynthesis without using any actual instrument.

Run a wobble bass into a bitcrusher for a vocal sound.

I suppose this is more Massive specific, but I do this sometimes to add increased filter movement. Set both your filters to their respective settings (ideally you would want them to be different) and then take an LFO and place it on the slider between the 2 filters. You can then have a gradual, or beat specific change in filtering between the 2. It leads to a lot of awesome movements. To further increase the movement, you can take another LFO and use it to automate the speed of the LFO you placed on the filter selection.

zeekazi wrote:A really interesting thing I came across involves using a sampler to introduce waveforms.

Yes, you're essentially creating your own single cycles to use as waveforms. You can also draw them in some synths. You can draw them in Renoise.
You can also download some from this website: http://www.adventurekid.se/akrt/waveforms/
I call them hybrid waveforms. The vocal and guitar type ones are interesting to work with.

Don't be afraid to do things you *think* will sound bad. If you don't try them, you'll never know. It could sound completely different with certain effects afterwards or with some of it scooped out. Try detuning a second oscillator to some funky interval and see how that reacts to distortion. That's what's great about reeses. I had never thought to push the detuning that far because I thought it sounded bad at first, but it makes for huge sounds.

Reject habits.

Artie Fufkin wrote:

zeekazi wrote:A really interesting thing I came across involves using a sampler to introduce waveforms.

Yes, you're essentially creating your own single cycles to use as waveforms. You can also draw them in some synths. You can draw them in Renoise.
You can also download some from this website: http://www.adventurekid.se/akrt/waveforms/
I call them hybrid waveforms. The vocal and guitar type ones are interesting to work with.

Whoa dude these are sweet! Thanks a bundle!