Psy trance fx (how to create effects)

On 2012-01-05 11:23:55, PsYSeKToR wrote:
Im interesting which techniques is used in psy trance to create all these effects, like cutoffs, ping pongs, stops, reverses and other tricks between tacts and random parts of the track.

On 2005-07-08 22:34, mubali wrote:
I really love the albino....

Here's one of the patches I use for most of my songs..

It's a modification on one of the presets that comes with the synth... I will mention both ways to do this particular lead.

I have 2 noise oscillators, 1 that's white noise and one that's pink noise. The white noise is routed to either a band pass filter and the pink noise is usually routed to a hi pass filter and turn up the resonance on both of the filters.

For the amplitude envelope, have a low attack and decay with a high sustain and a low release.

Now set up your modulation matrix (my favorite part of this synth) to have two lfo's control the amplitude to the same osc. Have one lfo affect amount into the negative (I usually use -1.000) and the other affect amount the exact inverse of the other lfo... I usually have the lfo's synced so that the modulation is symmetrical, but feel free to experiment. Have another lfo control the cutoff filter and you can play with the amount of the control range...
You can route the cutoff of the second filter (which should be the hi pass) to whatever you want, I usually use the midi learn for it and route it to a knob.
but remember to keep the cutoff slightly low to give it a lower airy tone.

Put a percussive midi pattern in using preferrably 16th and 32nd notes and now you have an aggressive noise lead that will have hi pitched noise coming in and out in a slightly random sub pattern (If anyone heard the M.o.E. track I wrote for the Lhiannon Sidhe compilation, that's the final lead I use in the breakdown as well as the lead I use in the breakdown of Delayed Aggression)

Here's a couple more variations to that... Instead of using a bandpass filter, just route both oscs to one hi pass filter and that makes one screamer of a lead as well... And just in case you wanna make one more variation to that.....
Set up a 3rd osc as either an analog or digital saw wave and have a 3rd lfo control the pitch of that osc. Route that to the bandpass filter and use one more lfo to control the cutoff, you've got some pitched madness... You can use delay and/or reverb with it and I tend to use overdrive on it...

This is my favorite lead and if you try it and like it, feel free to use it as well..

The base patch that I use is located in the Moving Sounds folder of the albino and is called wavesequence 3a or 3b...

On 2012-01-05 12:22, disco hooligans wrote:
That's a long thread. Many suggestions will be made, I'll just state one less(?) obvious technique.
One of my favourite FX sound was when I recorded the air on a hot summer afternoon, whistling through the studio door. I didn't even point the mix at it, just pressed record to quickly capture the moment as it was in tune with the track I was doing
If you have a mic, do weird sounds with your mouth into long delay patterns, long reverbs and put some heavy flanger/modulation delay on it.
No need to even program synths, for percussive, or drone sounds, just "sing" them in.
Or capture you dog yawning, your cat purring...anything really.
You don't even need an expensive mic.

Peace.