| One of the most overlooked and powerful
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| | Roland JX-3P or JX-10 have limited
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| tools for creating percussion sounds in
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| | percussive functionality in a real-time
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| this modern age of soft samplers,
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| | sense because the ramp-up time for the
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| emulators, and other sophisticated tools
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| | envelope is a bit too long for
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| is the humble subtractive analog
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| | sequencing- if this is the synth you are
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| synthesizer. Learning how to generate
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| | using, try a different one if available
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| exciting drum sounds also takes a lot of
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| | or edit the sound in a computer to
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| the mystery out of creating other
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| | correct the timing after recording),
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| percussive sounds, such as basses and
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| | decay at one third to one half, zero
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| plucked-string type sounds, as well as
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| | sustain, and little or no release. Play
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| providing an exciting way to personalize
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| | with the decay time to taste especially.
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| your music.
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| | You should now be able to play a bass
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| First, let's make a basic kick drum type
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| | drum pattern from your keyboard and
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| sound. Most any analog or virtual/soft
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| | record or sequence it for later
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| analog synth with one or more of the
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| | performance.
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| following will suffice: An
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| | Now to augment the bass drum sound. Here
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| oscillator,preferably with a sine wave
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| | are some suggestions:
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| generator, a resonant filter, a white
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| | Use a bit of white noise blended with the
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| noise generator, and an envelope (that
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| | oscillator to give the sound a bit more
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| preferably can be routed to the filter as
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| | excitement, and if the volume of the
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| well as the amplifier). With these simple
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| | white noise can be controlled separately,
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| parameters a wide range of percussion can
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| | apply a different envelope with a very
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| be achieved.
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| | short decay time to help keep things
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| The bass drum sound can now be divided
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| | snappy.
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| into at least two components: The
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| | If you can modulate oscillator pitch with
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| harmonic content and the envelope. To
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| | an envelope, try a slight amount of
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| begin, program an oscillator to generate
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| | downward decay. This models an acoustic
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| a sine or triangle wave, so that when you
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| | drum's property of, when excited (by a
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| play a key, a muted, boring sound comes
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| | hand, beater, or stick), initially
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| out of the synth. A sine wave is best for
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| | tightening against the drum head and
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| bass drums, but a triangle can be used to
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| | loosening, which translates to a slightly
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| great effect and alternate waveforms can
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| | higher pitch at the initial transient,
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| also provide different takes on the more
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| | followed by a lower sweep to the
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| classic sounds made by vintage drum
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| | fundamental frequency. Again, moderation
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| machines of yesteryear. If a sine wave is
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| | is key for this type of sound.
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| not available (as is true on many analog
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| | Effects can be very useful for
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| synths), try a triangle wave, but pull
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| | percussion, but as far as bass drums go,
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| the filter cutoff frequency down a fair
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| | there seems to be a bit of consensus on
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| amount, to about half its range. This
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| | most-handy sonic treatments. Distortion,
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| should pull out some of the overtones,
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| | compression, and slight equalization (EQ)
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| providing a strong fundamental.
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| | can be quite beneficial for making a kick
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| Really, the only other portion of this
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| | drum have more personality and sit more
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| basic sound is the envelope, which should
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| | easily in a mix. Also adjust the
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| have the following parameters (which of
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| | pre-effect sound to see if an effect is
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| course can and should be tweaked to your
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| | actually necessary. Often by tweaking
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| individual taste): Immediate attack (this
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| | other parameters in the synth patch,
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| is where some synths can show their true
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| | effects become less necessary (and can be
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| colors, as some older analogs like the
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| | covering up for sloppy programming).
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