Last modified on 2011-01-24 01:20:54 GMT.
Here’s a very quick and simple Sylenth1 tutorial for you… how to create a pitch ‘riser’!
Select the initial preset from the menu…
Set an oscillator to your desired waveform (any is good for this as it’s all about experimenting to find interesting sounds to suit your track), for the purposes of this tutorial i am using a saw wave tuned down 1 octave as shown here…
Draw a long continuous midi note like this…
Sounds a bit boring doesn’t it! So let’s sort that out…
Now for some PITCH MODULATION!
Go to the ‘MOD ENV 1′ section and select Pitch AB (or just Pitch A), turn the dial clockwise all the way, and raise the Attack slider all the way up (as shown in the above image).
Now play that sound…
Sounds more interesting now!
Of course this technique can be used to make a variety of riser sounds, using different waveforms, notes, effects, gates, arpeggios etc so it is well worth experimenting with!
Last modified on 2010-08-09 20:12:00 GMT.
Here’s some basic steps to programming a variety of sounds in the excellent Sylenth1 synth by Lennar Digital.
Please note the sounds made aren’t the best but are a good indication of the steps towards making your own quality presets from scratch!
This tutorial is aimed at beginners mainly so….
Select the initial preset from the menu…
On PART A, Oscillator ‘A1‘, select a SAWTOOTH wave and turn the voices up to ’8′.
Repeat this on Oscillator ‘A2′.
Notice that the sound hasn’t really changed.
Now listen to what happens when you turn the DETUNE knob up on each Oscillator (to about 5).
This thickens up the sound a lot.
Sounds a bit to washy though so turn the RETRIG (retrigger) buttons off on both oscillators and hear the difference again.
Also turn the DECAY (D) and RELEASE (R) faders up a bit as shown.
Now we have a simple Trance saw type sound! This can be tweaked into all sorts of useful patches so i’ll continue…
The sound could do with thickening up some more so select PART B and copy the settings we used in the PART A.
Turn the OCTAVE to ‘+1′ on oscillator B1, and to ‘-1′ on oscillator B2.
Now we have a (all be it quite Cheesy) simple supersaw style sound.
Filters: Now to show how this can evolve into better things select PART A again and look at the filter section.
Under FILTER A ‘INPUT SELECT’ set it to ‘AB’, FILTER TYPE to lowpass, and CUTOFF to around 975Hz.
In the FILTER CONTROL section turn the CUTOFF up to max and activate the WARM DRIVE.
Now if you hold a note and move the FILTER CONTROL CUTOFF up and down you can hear how it affects the sound. This can be modulated like any effect in you chosen software to create nice build ups and fade outs.
To add more ‘bite’ to the sound you can turn up DRIVE on FILTER A, and add some RESONANCE on the FILTER CONTROL. Now play a note and tweak that FILTER CONTROL CUTOFF to hear the difference again!
Now lets have a little more fun with the sound by activating the ARPEGGIATOR (click the box next to it so there is a tick).
You can copy the settings i’ve done here as an example or set your own.
Here I have the TIME dial set to 1/16, the GATE dial at 50%, MODE is STEP, VELOCITY is STEP+HOLD, etc.
Just hold down a note (yeah i know it’s not the best but it’s an example of how it works), and try moving that FILTER CONTROL CUTOFF knob up and down slowly… starting to sound more trancey eh?!!
Of course to trance up the sound even more you can play around with some REVERB and DELAY on it.
Using this sound it is also posible to make plucks. Simply start by turning off the arpeggiator.
Now on the AMP ENV (A & B) turn all the faders right down, you should now just hear a little clicky noise.
On PART A Turn the DECAY (D) up to about 4, and the RELEASE (R) to a similar setting, do the same on PART B. Of course you can adjust these to taste.
You should now hear a sort of pluck sound where (even if you hold down the keys) the sound is short and abrupt.
Play a chord and you can see where it’s heading. Also tweak the FILTER CONTROL CUTOFF like previously suggested while you play.
Still sounds a little ‘dry’ eh? So lets add some FX.
Ive added this REVERB…
And this DELAY….
Just have a tweak around until you find the sound you want.
To change the pluck sounds more of course you can play with different waveforms like SQUARE waves for example, also try different DETUNE settings, and various effects.
The important thing is to play around and create your own unique presets!
When you have made a preset you like make sure you SAVE it as an .fxp file so you can recall it whenever you like!
This is just a basic intro to try and show some of the more used functions of Sylenth1 or any subtractive synth really.
Hopefully i’ll get round to a ‘Part 2′ fairly soon!
Last modified on 2011-12-05 00:01:06 GMT.
Here’s a little walkthrough (aimed mainly at DJ’s) of warping a track in Ableton 8.
1: Open up Ableton in ‘Session View’ .
2: Load up the track you wish to WARP by dragging onto an empty Audio Track. Now double click on the track to show the sample display
3: Look on the waveform of the track at the bottom of the screen and find the very first beat in the track. Zoom in as far as necessary for accuracy. Now double click to add a warp marker to the beginning of the beat.
Then right click warp marker and select ‘Set 1.1.1 here’.
Then delete any other markers.
(now if you have auto warp enabled you may end up with several warp markers, just select the last one, click ‘ctrl+a’ to select all then hit delete, this should just leave you with one marker at the start of the track).
Ableton’s auto warp is fairly accurate but it’s always best to fine tune it just in case so…
4: Look at a point a little further along in the track (say at 4,8 or 16 bars) zoom in again and see if the beat is still in line with the grid.
If it is then you can usually skip to near the end of the track, zoom in and check there, if not then repeat the instructions for the first beat.
Just double click at where the beat starts and it will create a yellow warp marker,
then just drag the marker over to the part of the grid it should be on
5: Then you should be able to navigate to near the end of your track and check the beats still line up to the grid (if not just create a new warp marker then drag to where the beat should be).
A little trick is also to keep an eye on the ‘seg. BPM’ as this will help show how accurate the warping is (i.e. if it says 137.99, then you are close enough and can figure out that the track is 138bpm, so a little tweak near the end of the track should tidy it up).
This should now have warped your track fine for DJ mixing!
REMEMBER! DON’T FORGET TO CLICK ‘SAVE’!
Points to remember & Tips…
Always click on ‘save’ once warped.
Be wary of tunes that have an extra beat or when the tune kicks back in a bar late (this can confuse occasionally).
If you are unsure of where to drag your warp marker to then make a short 4bar (or 1) loop in the waveform (by clicking on ‘Loop’ and dragging the loop marker on the grey bar at the top to the point you wish to check) this will make it easier to see (or hear) where it should fit.
Some tunes are a nightmare to warp and will require a lot of warp markers. These are usually tracks played and recorded by bands, or recorded of vinyl. Most electronic tracks you’ll pick up on mp3 or Wav will only require 2 or 3 markers!
Always double check your warping by mixing a few tracks together to see if the beats all sync up nicely.