Im desperate to find some information on how to recreate something similar (or identical) to that incredible lead sound used by Mystical Complex, Dapanji and the like. Most noticeable in Optimus Prime (Mystical Complex), it starts at 3.00 mins and is present throughout the rest of the track intermittently. Any tutorials or personal ideas of how to create such a sound would be whole heartedly appreciated. Ideas on synth choice welcome as is a preset of such a sound (bear in mind I have most AU synths and a Virus TI2 so these are all game). Thank you very much everyone.
Geom3
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Posted : Apr 16, 2013 16:12
listen to it mate then judge it yourself ..............
i rekon...Abl2 or synth with nice filters , full drive and destortion 80% rez then assign/automate cutoff..
processin..eq it..add extra ditortion if needs it...also psp drive into a comp vintage warmer is a nice one....
this aint only way , im just babbling
Needing more than that im afraid Geo, ive already tried the ABL2 route. Don't get me wrong you can get some awesome acid leads out of it but its not touching upon the splendour of the afore mentioned lead. Im sure somebody must have some links to good info/tutorials on such a lead.
I can certainly make some very nice leads Fruitopia but my aim is to make something like that! There are just some noises out there that touch a chord and need to be known and for me, this is one of them.
woodster77
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Posted : Apr 16, 2013 16:25
sounds like theres a bit of osc sync going into a distortion
PoM
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Posted : Apr 16, 2013 16:26
browse the virus presets, hard to belive there is not something similar on the Ti Banks.
virus would be good candidate for that sound
Geom3
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Posted : Apr 16, 2013 16:43
Quote:
On 2013-04-16 16:19, fruitopia wrote:
I believe that if you freakin focus a little more on what you like you could make something very nice.
i go with this
PoM
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Posted : Apr 16, 2013 16:47
Quote:
On 2013-04-16 16:25, woodster77 wrote:
sounds like theres a bit of osc sync going into a distortion
+1
look for hard synced lead
could be just distortion though , but at 4,40 it really sound like there is sync to me
PoM
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Posted : Apr 16, 2013 17:20
if you have massive experiment with the Va wav pulse/saw sync, modulate a bit the sync with a envelop maybe mix some slithy detuned oscs , filter with resonance,maybe a bit of fm on it, add distortion after the filter. could do similar on the virus.
if it s not that try just a lot of distortion with suited oscs waveforms (worth trying pulse with pulse width lfo mod ), might get you close too/similar kind of sounds
Geom3
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Posted : Apr 16, 2013 17:59
driven distorted saw tooth..
Requisite do u wana elaborate m8 insteada leavin half a story untold?
frisbeehead
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Posted : Apr 16, 2013 18:20
Make it mono, glide/portamento plays a part on this. Also chorus full wet, with some modulation (try different rates). If using the virus (or similar) distortion seems more pronounced when the high pass filter closes (and the sound is more focused on higher frequencies).
Such modulation is easy if you assign, say: filter cut off with negative amount to filter envelope. Then distortion amount to same envelope with positive amount, explore the amplitude of this modulations carefully to find the sweet spots. You can then assign the decay and/or attack of the envelope to the Mod wheel, possibly even resonance to, to introduce some tweaking yourself.
When I said distortion I didn't mean just fx distortion, could be the filter (or both). In the Virus, after 12'o clock position, the "osc volume" knob acts as mixer for filter volume. So that's your destiny for modulating it: placing the knob half ways and some positive amount for "osc volume". Works like that with filter distortion selected, acts as "analogue drive" if not. I'd use a self-oscilating filter for this, I think the resonance scream plays a big deal in this kind of sound. So, again, if you have the Virus, select the analogue filter (which is low pass only) and put an high pass filter in series with that. Have both being modulated by the envelope, but in opposite directions: low pass with positive polarity, high pass with negative (or control it with mod wheel). nice idea to assign the soft knobs to act on two parameters at once, maybe. explore!
What story are you referring to Geo? My expeditions into the acid ridden world of ABL2 or why I find this particular lead so poignant? In either case theres not much more to be told than has already been said. Ill post my attempts once Ive had an opportunity to go over to my studio.
Ill give all these a go anyway people of the board so thanks for your input, for anyone else whos interested the tutorial by cosmosis below is a pretty good starting point even if I would keep away from the plastic sound of Vanguard.
Geom3
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Posted : Apr 16, 2013 19:02
by the way it got a phaser too....
all of these are valid tho..all of these ideas
cheers for that vid
frisbeehead
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Posted : Apr 16, 2013 23:15
Yeah, said this very recently on another thread: both chorus and phaser can work wonders if you just turn off the modulation (usually the depth knob) and choose the settings that best fit the sound you're making - possibly even automating by hand - the time knob on a chorus offers some good results, usually, and also wet/dry automation.
Don't think it's the case here. I think the melody and the glide settings and the patch itself can get you there. I'd try to get the raw feeling of it first, rather then focusing on modulation and automation right away.
Oh, and post the results.
About synthesizer choice: Virus can get you there for sure! No need to look anywhere else. Notice that there's different Mono modes to choose. it's got to do with the way it handles portamento, mostly. You need to choose the right one (don't really remember). The melody should include overlapping notes, to profit from the portamento settings, of course.
