First topic for me on the official new exciting DSI forum.Looking forward for some good & constructive times!
Thought i look ahead and create a sticky thread that any Tempest or other user can share their sound design secrets and upload their hot new patches!As a long time member on the unofficial DSI forum i gathered patches from various users thoughout the years that many of you will find very useful!In fact many of these patches were lost in the black hole called "Old Forum Crash"...So at the end of this post i've attached my first contribution to this community
Also i'll try to keep all things organised to the first post for everyone's convenience..
Many thanks and much respect to all the contributors!
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Stim's Tempest Recipes: Notes on drum synthesis1.
First things first - Some thoughts on approaching drum synthesis.
2.
Bass Drums Part 1 - Using the 808 and 909 as guides to synthesize your own brand kicks.
3.
Cowbells -
4.
SID sounds - crunchy arpeggiator fun!
5.
1- voice chords - Chord progressions on a single voice.
6.
HiHats, Shakers and Zaps - Some ideas for working with noise.
7.
Snare Drums - a recipe and beyond.
8.
Tom Toms - a tonal approach.
9.
Apito - The Samba Whistle
10.
Donk Bass - Rock da haus...
11.
Sub-bass - Shake da haus..
12.
Bass drums part 2 - A solid template
13.
Congas - slap me.
14.
Tuned Woods, Sticks and clicks - Bring your own reverb
15.
Bells and alien idiophones - Trekkie heaven
16.
Claps - The unscratchable itch?
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Sound Design Tips & Tricks from the Unofficial Forum If you would like a medium/long decay for the analog oscillators and only a quick click from the digital ones then set the main amp envelope decay to medium/long and set aux envelope 1 or 2 to OSC 3 or 4 level and set the decay to short.
To achieve a 'wavetable sweep' type of sound: Turn OSC 2, 3, 4 off. Turn OSC Sync on. Use the OSC1 frequency to change the timber of the oscillator. OSC 2 continues to keep OSC1 in sync even when off.
set up the aux envs as additional vca's, give them different delays, set the amount to zero and modulate the amount with (random) lfos...
instant glitchyness, works especially well with on short sounds (obviously...)
extra fun can be had if you also modulate all the decays.
If you want to use an Aux envelope to control the Level of OSC 3 or 4, turn down the level of the OSC first, then use the Aux envelope to control it directly since it adds to the level parameter.
Remember that with 4 osc, you can create a chord with one voice by tuning each osc to a different pitch.
Trick for claps:
Use aux 1 & 2 envelopes on the VCA with short decays (also have a short decay on the main AMP envelope)
Set the 'Delay' parameter on Aux 1 Envelope to about 6-8, and to about 12-16 on Aux 2. That gives the illusion of multiple 'slightly offset' claps occurring a few ms apart. Sounds very 'clappy'.
Using an LFO routed to the pan of a sound at a high rate (120+) to create a cool stereo widening effect. It can be extreme or soft. It's also fun to use an envelope routed to the amount for the LFO to create animated widening.
Not a 303, but still funky - Set synth voice to mono (assign to a voice). Write a cool sequence with a short decay/percussive sound. Go into the step edit mode and stick in extra notes, set to reverse. They'll slide into the next note but immediately be cut off by it when the next note triggers.
Nutty roll-your-own arpeggiator - Mix two square LFO's at different rates and different amounts to osc. all pitch. Now experiment with rates that are subdivisions of your master tempo - like set one to 16th note sync and the other to quarter note, etc. and tune them using amount for traditional arpeggiator/analog sequencer behavior. Hot! But if you really wanna get ignorant on it, go into your mod paths and start routing those same LFO's to other parameters - you have 8 "cables" to work with. You'll get living, breathing sequences with all sorts of stuff changing in sync, and it sounds awesome. Congratulations, you just joined Tangerine Dream - now go make love on a real train. Also try routing your slider positions to LFO amount, one for each LFO - suddenly you've got a pitch-playable arpeggiator!
1.set oscillator 3 and 4 to have two different samples. for example one closed hat, one open.
2. Set the oscillator 3 level to max and osc 4 to off.
3. Set Amp Env amount to max.
4. in the mod matrix assign one slot as velocity -> 127 -> osc 4 level.
5. assign another mod slot as velocity -> -127 -> osc 3 level.
Play the sound's pad in 16 levels mode. Hitting pad 1 (min velocity) will play only oscillator 3, hitting pad 16 (max velocity) will play only oscillator 4. You can now play two distinct samples from a single pad using a single voice.You can have a variation of this by using the arp and having LFO's control the split between Osc 3 and Osc 4.
If you have a hat sound with a long attack and long decay change both of your LFO settings to Lowpass and alternate the rates (I have mine set at 44 and 78 respectively).
Now go into Mute mode and with a beat playing over top turn your hi hats off (make sure you have something programmed before turning it off).
You now have that nice "white noise swoosh" sound that you hear on so many tracks!
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Sound Design Tips & Tricks from the Official Forum Tempest gives you a "delay" parameter for each of your envelopes (and such deep mod assignment options), you can make your long, drawn out pad sounds more interesting by triggering your assignable envelopes at different times. And when you combine this with with the 8 slots in the mod matrix, you can have each of those delayed envelopes trigger several different parameters and those parameters can affect other parameters and so on. Have your LFO amount or rate go random midway through the patch, have the LFO start modulating completely different parameters halfway through, etc.
Fake a 'per sound' compressor by setting one of the aux envs to modify VCA level by a negative amount. Can sound pretty cool! Use the mod matrix to change the compressor curve by modulating the env by itself.
To make a sound go on forever at the same volume (Drones) until it's interrupted by voice steal or a choke do the following:
- Set the amp envelope how you would like, and set release to the max.
- use an aux envelope on destination amp env release with settings: decay 127, amount - 127, release 127
It will now go on forever until retriggered or interrupted. I use it on synth pads I set to 1 voice for instance. Make sure low pass envelope doesn't close the filter or apply the same routing to the filter to keep it steady at release (use mod matrix with same aux env).
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