TOP SYNTH TIPS
Nuggets of advice for every synthesis stage
OSCILLATORS DETUNING EQUILIBRIUM
Detuning two or more oscillators in the same octave range is a great way to fatten up a sound. Here’s the correct way to do it. Detune each oscillator by equal amounts in opposite directions, say +/-5 cents. This keeps things from sounding too sharp or flat in the mix.
ADDING LOWS WITHOUT USING EQ
If you want to add some body or low end to a patch, add a sine (or triangle) wave oscillator. Tune the sine wave to the same octave or one octave lower than your main oscillator and adjust the volume of the sine wave to taste. This technique can be much more precise than EQ would be, and uses less CPU.
TWO-FINGER JAZZ CHORDS
Tune two sawtooth oscillators so that they’re seven semitones (or a fifth) apart, then lower the cutoff frequency of the low-pass filter to taste. Now play simple two- or three-note chords. If your synth supports it, use sampled piano waves instead of sawtooth.
ADDING NOISE
A classic techno trick is to add a bit of white noise to your sound. Then, as you play, open up the cutoff frequency, increase the amplifier envelope release, and/or raise the noise volume. This is a timehonoured way to help add energy to a lead.
THE ELECTRO FOURTH
Countless electro tracks rely on the following tuning interval: set one oscillator to the fundamental, then tune the second oscillator up by an octave plus four semitones (an octave and a major third, in musical terms). From there, play with the cutoff frequency and filter envelope parameters.
8-BIT NOSTALGIA
Most vintage video games relied on square waves for their retro soundtracks. Start with a single oscillator set to square, then add a second square-wave oscillator set either one or two octaves higher (or lower). For some bonus points, add a bitcrusher effect if you have one handy.
THE SMOOTHEST PAD
Here’s a simple trick for creating really warm pads that take up minimal space in a mix. Detune two sine waves by equal amounts in opposite directions, then adjust the amp envelope to taste. Make sure the filter is off (or all the way open) to ensure proper response across the keyboard.
SUPERSAW
One of the most popular (and some might add to that, overused) sounds is the classic fat trance lead. Here’s how you can do it. Take two or more sawtooths and detune them radically, say +/-10 cents in either direction. Open up the filter all the way, then add a really fat chorus preset.
BEWARE THE DETUNED BASS!
When building punchy bass patches, be careful detuning your oscillators as this can often cause the lows to phase in and out, creating an inconsistent response. For some truly fat bottom, try a super-low octave range, then blend a second oscillator one octave higher. This will ensure that the phase remains consistent.
AUTOMATED SYNC SWEEPS
It’s quite a common practice to use hard sync to create metallic sweeps via applying an LFO or envelope to the pitch of the synced oscillator. Instead, try using the mod wheel to change the pitch of the slaved oscillator. This will give you much more control over the sound – and will also allow automated sweeps in your DAW.
PULSE WIDTH MODULATION EFFECTS
Many synths allow pulse width to be modulated by envelopes instead of – or in conjunction with – the LFO. This is a great way to create unusual sweeps or cool plucked sounds. If your synth allows changing the pulse width via the mod wheel, try giving that a go too.
FILTERS THE CLASSIC FILTER MORPH
Take a sound that uses sawtooth or square waves. Give the filter envelope a fast attack, quick decay, no sustain and medium release. Lower the cutoff down to zero and increase the filter envelope amount up to 50% or more. As your sequence plays, raising the cutoff will morph the sound from plucked to big and bright.
WAH-WAH EFFECTS
Classic guitar wah-wah pedals rely on a band-pass filter for their distinctive sound. If your synth supports it, activate this mode, set the cutoff to 30–50% and add just a touch of resonance. Now apply some free-running triangle-wave LFO to the cutoff frequency and play staccato riffs and chords.
FAUX PHASERS
Another classic effect that can easily be emulated via multimode filters is phase shifting. To achieve this, set the oscillators to sawtooth waves, switch the filter to notch (or band-reject) mode, set the cutoff to 50% and apply a very slow triangle
wave LFO to the filter cutoff frequency. Adjust some resonance to taste.
CLEAN UP A MIX
A classic way to clean up a mix is to minimise unnecessary lows on each instrument using a high-pass filter. If your synth has dual filters that can be set in series, switch the second filter to highpass mode and raise the cutoff very slightly (between 2 and 20%) on sounds that don’t require low end.
ADD LOWS
It seems counter-intuitive, but you can use high-pass filters to increase low-end in sounds like sampled kick drums and toms. Turn the resonance up to 50%, then slowly raise the filter cutoff while triggering the sound. When the sound suddenly gets louder, you’ve found the frequency.
TUNING FILTERS
If your synth’s low-pass filter can self-oscillate, you can use it as a sine wave oscillator. Begin by turning the resonance to 70–80%, then hold a note and slowly raise the cutoff frequency until the note jumps in volume. Next, raise the keyboard tracking to 100% and increase the resonance until the filter generates an additional tone.
CHECK THE RESPONSE
Not all low-pass filters are created equally. To get a feel for your synthesiser’s implementation, set your oscillator waveform to sawtooth and lower the cutoff until the sound is extremely muted.
Then try and play some low notes on your keyboard – if you’re lucky enough, you may be surprised at its bass response!
THE WHOOSH
Applying a low-pass filter to white noise is the secret for creating nature sounds like wind, waves and surf. It’s also the secret for creating those whooshes that set off the big breakdowns in remixes. While you’re experimenting with this technique, don’t forget to tinker with the resonance too.
LFO THE HOUSE PAD
Combine two slightly detuned sawtooth oscillators and set the filter cutoff to 40–60%. Then, set the LFO waveform to a downward sawtooth wave and route it to filter cutoff. If possible, sync the LFO rate and set it for eighth-notes. Now play some minor chords.
GETTING A RISE
Another classic tip is to mix in synth bits that rise in pitch slowly. Select an upward sawtooth – or ramp – LFO waveshape, then reduce its rate to minimum. Assign the LFO to oscillator pitch and hold a note down. Add a delay for even more dramatic results.
THE BENDS
Classic electro basslines and leads rely heavily on pitch swoops. These can be achieved via envelopes or portamento, but if you want to create something really rhythmic, just apply a triangle-wave LFO to pitch and sync it to the tempo of your track. Once that’s set up, try experimenting with different note pitches as you play.
ERSATZ RING MOD
If your LFO is capable of very fast rates, you can use it to simulate ring modulation effects. To test this, increase the LFO rate to maximum and assign it to the amplitude (volume) of your sound. If this technique adds weird frequencies to your sound, you’re in luck.
RETROFABULOUS 80S EFFECTS
Early Depeche Mode tracks included various burbling filter effects created by applying a sample and hold LFO (also known as a random LFO) to the filter cutoff frequency and adjusting the resonance to taste. For extra credit, try syncing the LFO rate to tempo using either eighth- or 16th-notes.
SUPERCOMPUTER SOUNDS
Sample and hold LFOs can also be used for old-school ‘computer’ sounds. Simply set an oscillator to a sine or triangle wave, then route the S&H LFO to pitch.
GATING EFFECTS
To chop or pulse a sound, try applying a square-wave LFO to the amplitude (volume) and sync the LFO rate to tempo. Then, if possible, route the LFO amount to the mod wheel so you can turn the effect on and off and create new rhythms.
ENVELOPES INVERTED ENVELOPES
Some synths allow the filter envelope to be inverted. This creates the following envelope shape: immediate attack, then attack becomes decay, decay becomes a second attack, followed by sustain, then a release that rises back to the original cutoff frequency. Be sure to set the cutoff to at least 50% to hear the effect.
STACCATO
RELEASE TRIGGERS
On most synths, the release segment will begin from any envelope level other than zero. Even if you lift the key during the attack or decay segment, the envelope will jump to the release. Try setting a medium decay, with zero sustain and a long release, and then playing staccato notes.
CREATING
ATTACK TRANSIENTS
If you feel like adding a bit of snap to the beginning of your sound, simply create a pitch envelope with an immediate attack and very short decay. Next, adjust the amount until you hear a ‘thwip’ at the beginning of the note, then adjust the decay and amount as needed.