808 Style Clap Tutorial

[AdamXAudio]

Hey all,

I created another Tempest tutorial video.  This one focuses on how to make an 808 style clap using Osc 1 and 3 as noise sources and all 5 envelope generators to modulate various levels.

https://www.youtube.com/watch?v=sfkXyb6P_Pc

Hope someone gets something out of it!

[onesnzeros]

cheers

[RobH]

Great vid!

I wish you,d do one about how the mod matrix can be used like where you use it to change the envelope, I mean I use it but it's just blindly testing going for a lucky outcome, I'd love to know the actual effect like you know it the exact way the envelopes are rehaped!

Where did you learn the nuances of the mod matrix Adam is there a guide?

[idm]

Very nice Thanks for this.

[AdamXAudio]

Great vid!

I wish you,d do one about how the mod matrix can be used like where you use it to change the envelope, I mean I use it but it's just blindly testing going for a lucky outcome, I'd love to know the actual effect like you know it the exact way the envelopes are rehaped!

Where did you learn the nuances of the mod matrix Adam is there a guide?

Thanks! Besides what's in the Tempest manual, I don't think anyone has made a guide yet.  Might be a project worth doing.

All I've done really is read what was in the manual, and then I experimented with the envelopes a lot more to hear what they do.  A good way to become familiar with them is to just have Osc 1 loaded up with a steady sawtooth tone, and use Amp Envelope to modulate Amp Decay and record the output when you set the amount to different values.  Compare the shape of the volume curves and see what you notice. 

For the sound in the clap video I had an educated guess as to how the envelope is bending, and then I just experiment with the values until I found the right one.  In this case, I had a Roland 808 Clap sample I was comparing my sound to, which made it kind of easy to adjust the settings until I heard the results I needed.

[AdamXAudio]

For anyone that learns better through just reading the info, here's the settings written out.  If I didn't list a parameter, it can be assumed it's at the default or 0 setting.

OSC 1
Pulse at 50%
Osc 1/2 Mix: 0/100
Frequency: C#5
Fine Freq: 0

OSC 2 - Off

OSC 3
Sample: 5. Resonant 4K Noise
Level: 35
Frequency: -18
Fine Freq: -42

OSC 4 - Off

FILTER
Low Pass Filter in 2-Pole Mode
LP Freq: 108
Resonance: 0
Audio Mod: 0
HP Freq: 32

PITCH ENV
Attack: 0
Decay: 12
Amount: 127
Delay: 0
Destination: Lowpass Filter

LOWPASS ENV
Attack: 0
Decay: 12
Amount: 127
Delay: 2

AMP ENV
Attack: 0
Decay: 98
Peak: 47
Amount: 20
Vel Amount: 127

AUX 1 ENV
Attack: 0
Decay: 12
Amount: 127
Delay: 5
Destination: Lowpass Filter

AUX 2 ENV
Attack: 0
Decay: 31
Amount: 127
Delay: 7
Destination: Lowpass Filter


MOD MATRIX
1. Amp Env to Amp Env Decay (50)
2. Noise to Osc 1 Frequency (127)
3. Pitch Env to Osc 1/2 Mix (-127)
4. Filter Env to Osc 1/2 Mix (-127)
5. Aux 1 Env to Osc 1/2 Mix (-127)
6. Aux 2 Env to Osc 1/2 Mix (-127)

[LucidSFX]

Just genius man. I just moved across the country. My gear is alated to arrive hopefully in two weeks or so. I am dying to recreate this.

I would not have thought to use the lowpass filter as the transients though the envlps. Was this a happy accident? I am curious about the approach you use to synthesis, where if you knew that the filter would be the key to the sound. I initially would think the amp and aux envelops to shape the vol of two Ananlog OSC's as the focus on the transients and noise as background. Which sounds shit compared what you pieced together!
 
Cheers!

[AdamXAudio]

Just genius man. I just moved across the country. My gear is alated to arrive hopefully in two weeks or so. I am dying to recreate this.

I would not have thought to use the lowpass filter as the transients though the envlps. Was this a happy accident? I am curious about the approach you use to synthesis, where if you knew that the filter would be the key to the sound. I initially would think the amp and aux envelops to shape the vol of two Ananlog OSC's as the focus on the transients and noise as background. Which sounds shit compared what you pieced together!
 
Cheers!

Thanks! 

So in this case what I initially did was use two pads to try to create the clap sound.  I was designing the transient part on pad A1 and the sustained noise on A2 because it was just a much easier way to work and fine-tune my sounds without having to worry about all the tweaky envelope routing initially.  After I had gotten the sounds working together as two voices, it was just a matter of thinking about how to combine them.  Using my two-pad sound design process, I actually had the filter completely open for the transient part of the clap... which I knew I couldn't do anymore because I needed to filter out my noise, so assigning all the transient ENVs to the LPF was the next logical step.

[RobH]

I must admit that I have used a similar techniques on filtered kicks using four envelopes all assigned to the LP. I did this through blind luck and a test/try method rather than an actual deep understanding of what is happening but I originally was trying to stretch the filter part of a sappy kick. It didn't have the effect I thought it would but Ido remember some great kicks coming out and I will for sure test out this method again! Good to see that someone else who knows what they are doing using it so I'm not super crazy!!!