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The Mother of all LEADS thread
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jivamukti
IsraTrance Junior Member
Started Topics :
21
Posts :
342
Posted : Apr 7, 2005 20:06
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Ok someone has to start this topic.
Here's three easy-to-program lead sounds that I found buried in the archives of Psynews.org forum.
1)
(Note: someone asked here how to program the lead that artist X uses in track Y.)
I think it's a standart detuned saw lead: 2 (or 3 if you like) detuned saw osc's, some unison with spread and detune, some resonance, low pass filter...mmm...12 or 24 dboct.
The main elements are detune and unison.
2)
Fussy lead:
2 or more pulse-wave with quite a lot of PWM; enough to fuzz the sound out but not too much to make it disappear (make the PWM different for each oscillator if you can). Modulate pulsewidth with a sinewave LFO at maybe 5 Hz. Detune the oscillators between 2 and 5 cents either side of zero. Wide open filter with maybe 25% res so it bites if you sweep it. A nice wide chorus and you should be there.
3)
The "harsh" melody from the Cosmosis-Roswell track (most distinctive at 3:44) is made with a basic FM-modulated sound, and I bet it's Access Virus (althoug any FM-capable synth can produce such sounds). It also has some highpass filtering and digital distortion thrown in.
It is really easy to program, just set the main osc to a basic saw or sine wave and modulate it with another osc tuned to a very low frequency (experiment with the shape of the modulator to get the desired degree of "harshness"). Note that this trick cannot be achieved with LFOs alone (at least on the Virus) due to the lack of accuracy at higher frequencies.
One more from a forum whose name I've forgotten. Deals with programming leads on Virus:
Trance leads are easy to make.
Oscilator/LFo settings:
1) Use 2 oscilators and select the pulse width waveforms for both. Adjust the pulse width, so that you get a nice WIDE tone.
2) Use the same pitch (8') for each oscilator...but use the fine tune knob to detune the 2nd osc in relation to the 1st oscilator.
3) OK next you will need to modulate both the oscilator pulse width waveforms using an LFO. Select a sine wave for the LFO. Experiment
with the LFO depth and rate (the rate at which the sine wave completes its cycle). As you turn the rate up you should start to notice
a shimmering effect. If you dont hear this shimmering it probably means you need to turn the LFO depth up. If you do this correctly
you should notice that your 'sound' becomes fatter and a little warmer.
Filters:
1) Low pass filter 12 or 24 slope.
2) Cutoff set to halfway. Resonance set to a low value. Envelope amount set to maximum. Obviously this is down to your own subjsective
taste. Experimenting is the key!
3) Use another LFO and set it to either a sine wave or / waveform and use it to modulate the filter. Slowly opening and closing the
filter works VERY well on trance leads.
Envelopes:
1) Attack set to the lowest value. Decay set a very low value. Sustain set halfway. Release....you probably wont want much. The
correct envelope settings are critical. The attack and decay settings will give you the snappy characteristic. Experiment by
making subtle changes to the decay and sustain settings. What you are trying to achieve is a snappy characteristic.
BTW make sure that the envelopes for the amplifier section are all set to maximum.
Once you have got the desired sound....stick it into unison mode, apply some chrous effect and tell your neighbours to buy some ear
plugs hehe.
*Try to replicate these settings on your Virus and experiment. The key to programming these kind of sounds is to be subtle. Rather
than turn all the knobs radically.....make small changes to filter, envelope and LFo settings. That way you will start to get a more
dynamic/versatile range of tone.
Could a moderator make this topic sticky, please? |
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Pavel
Troll
Started Topics :
312
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8646
Posted : Apr 7, 2005 20:12
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Thanx a lot jivamukti 
Sticked!
 Everyone in the world is doing something without me |
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Apr 7, 2005 21:40
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ohh, ohh. 
Vocally-type leads:
Use two saw osc's, the first transposed an octave down. Sync the second osc to the first. Mix in some noise (not much). put a bandpass 24db filter after it.
Modulate the filter cutoff with the modwheel while you play and it'll 'talk'. |
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Ronaron303
Started Topics :
6
Posts :
157
Posted : Apr 8, 2005 00:13
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Hi, ifound some nice stuff online :
1. Creating that "plucked" lead sound.
Been used by The Thrillseekers, Above & Beyond, and Armin Van Buuren in various forms, this type of sound can just lay in the background of a song like it does in 'Motorcycle - As The Rusch Comes (Armin Van Buuren's Universal Religion Remix), or being used as a full on lead like in 'Hydra - Affinity (Original Mix)'.
A. Wasp
1. Load up the deafualt patch, i.e - the sound that comes out of the wasp when you add an instance of it. We don't have to make any large changes to this one, as the sound already is pretty near what we're trying to achieve here. Place your notes at the desired octave, but try to keep it around C4 for the best result.
2. In the filter section, adjust the knobs to these settings: CUT - 11, RES - 7, ENV -12.
3. In the AMP ADSR/FILTER ADSR section, mark the link button, and make everything look like this: ATT - 8, DEC -12, SUS - 12, REL - 10.
There it is, experiment with different filters and the CUT and RES knobs in the filter section for instant fun. Put some reverb and/or delay over it all to make things sound nicer.
B. Pro-53
1. Start with an empty patch, put OSC A all the way up, and play your keyboard at the desired octave.
2. Increase the voices to six.
3. Filter settings: CUT - 2, RES - 7, ENV AMT - 2, KBD - 1, ATT - 2, DEC - 3, SUS - 9, REL 11. Mark the INV button so a red light appears.
4. Amplifire settings: ATT - 9, DEC - 5, SUS - 12, and REL -10.
Key functions here are the CUT OFF filter in the filter section, and the ATTACK filter in the very same section. Another good idea is to go to the effect section and put some nice delay over the whole thing.
2. Creating that big synth lead that never seems to get old. (Or maybe it already have)
Right, you know the deal, melodic trance from 97 'til today have basicly all been about a special type of lead synth that some people hate, and others love. There are many variations to this lead, something the haters doens't seem to care about, but that's another story. What wer'e going to do here it to create a rather simple saw lead that will work well in most situations. Think of something a long the lines of 'Blank & Jones - Cream (Paul Van Dyk Remix)' or 'System F - Out Of The Blue (Original Mix)'.
A. Wasp
1. The Wasp is far from the ideal choice of instrument when it comes to this sound, still, things can sound OK on it everything's tweaked correctly. It should also give you an idea of what makes a lead "trancy". First, fire up an empty patch, place your notes around C4 for a good result.
2. In the filter section, make these adjustments to the knobs: CUT - 1, RES - 7, ENV - 1, and finaly, change the filter to "DBL NOTCH".
3. In the OSC section, move the slider between OSC 1 and OSC 2 to it's middlepoint to recieve an equal amount of sound from both OSC 1 and OSC 2. To make everything sound fuller, now adjust the FINE knob on OSC 1 to 10, in order to make OSC 1 slightly detuned. Notice how this change the body sound quite dramaticly.
4. Move over to the AMP ADSR/FILTER ADSR section, and tell your synth to do this: ATT - 8, DEC - 12, SUS - 2, and REL - 12.
Experiment with the CUT knob in the filter section for nice sweeping melody lines. Don't forget to add reverb/delay to this one, that's an essential part of the whole thing when it comes to sounds like this.
B. Pro-53
1. The Pro-53 suits this type of leads much better than Wasp do. First, let's turn on both OSC A and OSC B, running both at full force, both oscillators should be set to "saw". (OSC A is already set to this waveform).
2. Time for some fun!, make sure the UNISON mode is on (press the UNISON button so you see a red light), increase the voices to 16, and set the ANALOG knob to 3 o clock.
3. In both the filter and the amplifire section, all knobs can be left untouched, exept the RES knob in the FILTER section, put it at 9 o clock.
4. Press the KBD button and viola, magic!
All voices are now playing at the same time, each and everyone, slightly detuned, this makes the whole sound very phat, and very "trancy", nothing wrong with that, is there?. Experiment with all filter settings, and by all means, the amplifire settings too, for some real sweet surprises. Also try to increase/decrease the numer of voices, play around with the FREQ, PW, and fine buttons, to simulate anything from the leads of Push to Dumonde. Fun huh?
Now, that should keep you bussy for a while. After creating all these sounds, remember to experiment a bit with all the settings to see what they do, afterall, that's the most effective way of learning things in the first place. Good luck with your future productions!
If this going to help some one .... |
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Ronaron303
Started Topics :
6
Posts :
157
Posted : Apr 8, 2005 00:17
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and one more ,for Jp-8080 users:
First of all , take a listen to the example file (*) so you can get an idea of what kind of sound we are going to produce with this tutorial. I used a part of the melody of a old track of mine called "Trance Unity" with the sound from this tutorial. As you can hear it's a quite aggressive and powerful Saw-type lead, very useful for energetic riffs! Let's see step-by-step how we can produce it!
Setting up:
The first thing we have to do is INITIALIZE a performance, so that we'll get just a basic sound which we'll start from. To do this, follow these instructions:
1) Choose a performance from the USER bank that u dont need and then click the EDIT button:
2) The display will show a message saying "Select Bank [1] - [8]" , and all the buttons leds will be blinking. Click Number 7 [INIT/UTIL], the screen display now shows "INITIALIZE[WRITE] PERF: TEMPORARY" , click WRITE.
3) Now, if u play any keys on your keyboard u'll hear a basic Saw sound. If the sound is too low, you can make it louder by turning the LEVEL knob in the AMP section of the synth to the full right. Now, u can hear the sound louder...
SoundShaping:
The JP80x0 synths are structured in a way that lets you use a performance with two different methods, you can choose wether you want to play two different sounds (UPPER and LOWER) on different channels, or use the two sounds together to make a super phat patch. We're going to use the latter method this time, so we'll use both the Upper and Lower patches to create one complex performance.
Let's take care of the UPPER section first: click the UPPER button so that it becomes red and the lower button is turned off. Done? Perfect, now:
The first thing we have to do is choose asound form:
1) Click the Waveform Button in the OSC 1 panel until the Super Saw waveform lights up
NOTE: for the following steps i'll give you the exact settings (for example : +58 or - 10) that you have to use, there's a function on the synth called SCOPE that u can use to see what current setting you're using/changing. To use it, click on EDIT then Number 8 [scope] and click it again until the display shows "Edit Scope, select knob", then proceed to the following instructions
2) OSC 1 section: turn the Control 1 knob until u reach value 98.
3) OSC 1 section: turn the Control 2 knob until u reach value 127
Now the sound is already quite phat, but it still doesnt bite and we're still quite far from the result we want to achieve. Let's go on and edit the OSC 2 panel and add another sound.
4) To hear the second oscillator's sound we need to set the OSC BALANCE, which tells the synth how to mix the volumes of the two Oscillators, by the default, the Blaance is set to -64 which means that only OSC 1 will be sounding. Let's set it to -44, so that OSC 1 will be the main sound but we'll be able to hear OSC 2 as well!
5) OSC 2 section: select the SAW waveform by clicking the Waveform button
6) Now we can hear that the sound is slightly changed. To get a phatter sound let's set the OSC 2 RANGE knob to -12, so that Oscillator 2 will be playing 12 semitones lower than Osc1.
7) Let's also make the sound buzzier by setting the Finetune (FINE/WIDE knob)of OSC 2 to +11.
8) Now the sound will be much fuller and bassy, but since we'are going to use a bassy oscillator in the LOWER part, let's use this Saw Oscillator differently, click on the RING button, this will add RING Modulation that will affect the sound making it (in this case) a bit more chaotic.
Perfect! The Upper part is now ready, let's now pass to the LOWER part!
9) click on the LOWER button so that it becomes red and UPPER is turned off.
10)Make sure the KEY MODE panel is set to "single" and then go on with this step:
If you cant hear any sound after you've selected the LOWER part, the reason is that the JP is set to play the LOWER part on a different midi channel than the UPPER part. To change this and make them sound together we have to set the PART MIDI CHANNEL. To do this follow these steps:
ATTENTION: if you are not in SCOPE mode, CLICK "EDIT" before proceeding to step "10A"
10A) click "Button 3[PART]" and click it again until the display shows "PART MIDI CH, LOWER + a number (which is your midi channel number"
10B) click "UPPER" and notice that the display is now changed to "PART MIDI CH, UPPER" write down the number u see and click LOWER again, now use the DEC/INC button to set the number to the same as the upper number which you just wrote down.
Great, now Lower should be working and if you play the sound it should be the basic saw sound that we had when we started with the UPPER patch. If you raised the AMP LEVEL before, do it again now, so that the Lower part will be as loud as the UPPER part.
11) Set the OSC 1 Waveform to SuperSaw with the Waveform Button
12) Set Control 1's value to 55
13) Set Control 2's value to 74
Now we have a lighter supersaw sound compared to Upper Part, let's now set the second Oscillator which we'll use to give a bassy sound to our lead and make it fuller.
14) Set OSC Balance to -32
15) Set OSC 2 Waveform to Triangle with the Waveform Button
16) Set OSC 2 RANGE to -12 to make it sound one octave lower than Osc 1, also click the "-OCT" button in the OSC COMMON panel, this will make the whole LOWER patch sound one octave lower than the Upper part and the sound will be much more powerful!
Now we can hear that the lead is quite bassy. It's time to hear the two PARTS sounding together and apply some common changes to both!
17) Click the KEY MODE button and select DUAL
18) Now click LOWER and UPPER at the same time so that they both become red.
Now we can hear both part sounding together, and since both Upper and Lower are now selected, any edit that we make will be set both for the upper part and the lower part (this will save us some time since we dont have to go and edit these parameters twice in both parts).
Let's now edit the FILTER ENVELOPE and AMP ENVELOPE. We want the lead to have a strong attack and be punchy so we'll go for a short ATTACK and DECAY and quite low SUSTAIN, and short RELEASE (except in the filter envelope where release will be 127)
19) FILTER ENVELOPE: set the A Slider (attack) to "0"
20) FILTER ENVELOPE: set the D Slider (attack) to "59"
21) FILTER ENVELOPE: set the S Slider (attack) to "0"
22) FILTER ENVELOPE: set the R Slider (attack) to "127" <- this means that when filtering the sound the amp release setting will be preserved and the release wont be cut off.
23) Set the DEPTH Slider to "+40" <- this is a quite high value which will make the attack of the sound strong even when filtered. You can however experiment with the Depth/Filter envelope settings if you want the sound to filter differently.
24) AMP ENVELOPE: set the A Slider (attack) to "1" <- if set to zero, you may hear some annoying "clicks" when the sound is filtering.
25) AMP ENVELOPE: set the D Slider (attack) to "56"
26) AMP ENVELOPE: set the S Slider (attack) to "25"
27) AMP ENVELOPE: set the R Slider (attack) to "35"
Now, we're almost done and the patch is amost ready! We just have to work a little bit on the effects:
28) EFFECTS: set the BASS knob to +38
29) EFFECTS: set the TREBLE knob to +64 (you'll immediately notice how this makes a difference!)
ATTENTION: if you are not in SCOPE mode, CLICK "EDIT" before proceeding to step "30"
30) Let's select the "SUPER CHORUS CLR" FX by clicking Button 4 [PATCH] until the display says "Multi-FX Type:" and select "SUPER CHORUS CLR" by using the DEC/INC button.
31) Set the Multi-FX Knob to 39
32) Let's add a delay by using the LEVEL knob and set it around 50, also change the TIME setting according to the speed the track you're making (this will depend on the BPM).
NOTE: you can sync the Chorus time and Delay time by selecting BUTTON 3 [PART] and clicking it until the display shows "Chorus Sync" and "Delay Sync" and use the DEC/INC button to select the tempo. Also the LFO tempo can be synced but we didnt use it in this tutorial
and one more for Jp-8080
1. Find a patch you can overwrite, and initialize a new sound by pressing "Edit > Init/Util", select "Patch" and press "Write".
2. Set ring modulation on.
3. Oscillator 1 waveform: Supersaw - Control 1: 87 - Control 2: 127
4. Oscillator 2 waveform: Square wave - Fine/Wide: -28 - Pulse width: 4 - Pulse width modulation: 71 - Sync: on
5. Oscillator balance: -14
6. Filter: LPF - Cutoff: 69 - Resonance: 25
7. Filter envelope: Depth: 35 - Attack: 0 - Decay: 34 - Sustain: 18 - Release: 127
8. Amplifier envelope: Attack: 2 - Decay: 65 - Sustain: 0 - Release: 57
9. Effects: Bass: 14 - Treble: 37 - Multi-FX Level: 86
the all info i found is on http://www.trance.nu
Enjoy if you find it interesting. |
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Get-a-fix
Getafix
Started Topics :
147
Posts :
1441
Posted : Apr 8, 2005 01:00
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nice!!!! a lil off topic but which frequencies from my leads should i cut below, so i can keep them from taking up headroom from the bass and still remain phat? right now i'm cutting them below 80hz...should it be higher?
http://www.soundcloud.com/getafixmusic |
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Ronaron303
Started Topics :
6
Posts :
157
Posted : Apr 8, 2005 01:34
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Quote:
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On 2005-04-08 01:00, Psychosomatic wrote:
right now i'm cutting them below 80hz...should it be higher?
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Cut at 125 hz,use Req 6bands
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Apr 8, 2005 15:34
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Psycho - it totally depends on how high your bass is going. Personally I have my basses cut after about 150Hz, so I tend to highpass filter my leads at 200Hz (a little room in there helps keep the bass clear).
Of course if your bass cuts out you might want to drop off the highpass on your leads to let them get real low, but when there's bass all they will do is make it muddy.
Ron - excellent posts (makes mine look pathetic in comparison). Well done! |
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Ronaron303
Started Topics :
6
Posts :
157
Posted : Apr 8, 2005 21:36
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Quote:
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On 2005-04-08 15:34, fuzzikitten wrote:
Ron - excellent posts (makes mine look pathetic in comparison). Well done!
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Thanks  |
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s0ft
IsraTrance Junior Member
Started Topics :
42
Posts :
825
Posted : Apr 9, 2005 17:10
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s0ft
IsraTrance Junior Member
Started Topics :
42
Posts :
825
Posted : Apr 13, 2005 00:49
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Classic Souped-up Saws (as seen in Computer Music Issue 84)
1. Start with LinPlug's FreeAlpha. The default brass patch is a good place to start.
2. Load each oscillator with a sawtooth wave. You have 18 differnt choices, they can be the same but you will get a different sound if you choose a mix.
3. The range for each should be 8. You can explore and try different values if you want. I suggest keeping them all the same.
4. Attack and Release should be low (I suggest that Attack should be 0). Sustain is max.
5. Adjust the Detune to your taste.
6. 24dB filter with a bit of resonance wouldn't hurt. Set your chorus Wet value to 0.
7. Optional: Mess with the glide. You may geek something you like out of it. If you add a delay keep it low.
The IsraTrance MySpace Group:
http://groups.myspace.com/isratrance
DJ Trypta Sets:
http://waxdj.com/djs/4354/ |
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s0ft
IsraTrance Junior Member
Started Topics :
42
Posts :
825
Posted : Apr 13, 2005 07:45
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Fingax
Cosmic Station
Started Topics :
82
Posts :
1235
Posted : Apr 14, 2005 03:50
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Quote:
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On 2005-04-08 15:34, fuzzikitten wrote:
Psycho - it totally depends on how high your bass is going. Personally I have my basses cut after about 150Hz, so I tend to highpass filter my leads at 200Hz (a little room in there helps keep the bass clear).
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i agree with what you said here but cutting all frequencies of the bass over 150hz wont help too much if u'r looking for the usual trance bass lines.. all bass is mainly low freq but it also haves mid freq. that will make it more clear. cutting above 150hz will take clarity to the bass.
ok.. all depends what u whant to do.. but i think this is not good idea.
Boom |
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sy000321
IsraTrance Junior Member
Started Topics :
46
Posts :
1142
Posted : Apr 14, 2005 16:03
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phew... so many tips... looks like another night with no sleep for me
thanks ppl
roll a joint or STFU :) |
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Pavel
Troll
Started Topics :
312
Posts :
8646
Posted : Apr 14, 2005 21:57
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Quote:
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On 2005-04-14 16:03, sy000321 wrote:
phew... so many tips... looks like another night with no sleep for me
thanks ppl
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Sleeping is for losers
Everyone in the world is doing something without me |
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