Okey, so here's the deal. I've been having few problems with coming up with FX's. I mean, it's simple. You just take a sample, or a synthesized FX, and add a sick amount of shit (phasers, flangers, choruses, EQ's, delays, reverbs and whatever) to it. It's that simple.

Though it seems to some people that this is acctually a difficult thing to do. Well, old PutBoy to the rescue. I'm hereby staring a thread with brainstorming ideas. Like the exploration of sound thing, but for FX's instead. So here we go. I'll do the first.

"Woodpeck!" (optimized for FL):

For this you'll need the FM7. I'll use the patch #5: Werlitcheritz (or whatever). Use the C7-octave.

Now. The notes are simple. a short note 4 times per every beat for one bar. Leave some spaces between them to get the most out of the attack. I'd post a pic, but I don't know how so my descripton will do. The note's velocity raises from 0% to 100%, and you should Automate it so the volume goes from 0% to 100% aswell. Don't know how to describe that any better than that.

Add a high pass filter at about 650 hz. You could also EQ at your plessure, but the filter is all that is really needed as far as the EQ goes. Then add a delay (I prefer to set the steps to 3 on the Fruity Delay. Then add a phaser. Massive depth and stereo width here. Play with the rest of the settings. Full wet rocks though.

Add a brickwalling compressor, though don't overdo it. To not overdo it you could add another compressor afterwards to fix it a bit.

Then add a stereo enhancer too. This FX is a surrounding one.

And here's my result, I'm using it in my new track:
http://www.fileden.com/files/2967/Woodpeck.mp3

I could always use with some more ideas. So post some of your own.

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Sebastian Zander - Set Two [Electro/Tech House and Trance of some sort]
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Try CamelSpace VST. It mangles sounds! Pretty cool VST.

I cited some interesting tools for modifying completely any sound
on Isratrance Forum. I've used some ideas from there.
This Isratrance thread can be reached using the link below:
http://forum.isratrance.com/viewtop...c/87808/forum/2

Native Instruments Spektral Delay is another tool to come up with new great sounds.

get dblue glitch
than get used to controls...and put it on end phrases of your songs (where you'd want a sort of fill to be)

easy and coooooool B-)

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When making FX dont reach straight for the phasers/flangers etc etc. This is just another example of people piling on the post processing before a sound even needs post processing.

You can generate an amazing variety of ambient and aggressive build up sweeps and swooshes and bubbling noises with an oscillator and an LFO.

You can make a number of bizaare burping/squelching noises ala psytrance by modulating the pitch of a single saw wave with a slow/medium speed sine wave, through an envelope. Then run it through a band pass filter. You can make this rounder and squelchier using the same LFO envelope to modulate filter cutoff and resonance as well.

You can create a wide range of swooshing/swishing effects using an oscillator that generates white noise. I have a number of FX sounds built using synthesizers without any effects and you can get even more by recording them and reversing the sample. Ill post a few patches later.

Access Virus B Effects tutorial - PART 1:

'The Cosmic Burp' -

(aka the psy squelch and that psytrance elastic sound type thing...)

Open up patch C127 for a blank template. We are starting from scratch on this one (as I think everyone should for reasons of artistic integrity. )

1) Set OSC BAL to 127 so its only playing oscillator 2.

2) Set OSC 2 to saw wave and press EDIT. Scroll to FltEnv->Ptch and set it to +54. You now have a saw wave modulated by a pitch envelope. Positive values bend the pitch down. Negative values bend the pitch up. The higher the value the more extreme the pitch dive. I wanted it fairly extreme but not all the way or it starts to sound like a laser.

3) Press ENV MODE on LFO 1 so that the light is on. LFO 1 is now set to play through an envelope. Change the SHAPE to Sine and press the AMOUNT button until you get to OSC 2. Set OSC 2 pitch modulation to -64. Now press AMOUNT twice more so that you have RESO 1+2 highlighted as well as OSC 2. Set Reso 1+2 to -3. Adjust the LFO speed to taste. I set it to 31.

Note: Picture a sine wave. Positive values for OSC 2 LFO modulation along a sine wave result in the peak first, then the valley. i.e. the pitch goes up from zero first then back down to zero. Then dives further down before rising back up to zero.

Negative values for OSC 2 result in valley first, then peak. i.e. the pitch goes down from zero first then rises back up to zero, keeps going up then goes back to zero.

This sound is bending all over the place. which is what we want.

4) Stick it through a Band Pass filter set to SERIES 4 - the 24 dB/Octave, 4-pole filter. Adjust to taste. I liked the sound of it around 86. Set RESONANCE 1 to 1.

5) Go to LFO 2 and set its SHAPE to Triangle. press AMOUNT until you have FILTER 1 and FILTER 2 selected. Adjust to taste. I liked the sound of it with FILTER 1 on -54 and FILTER 2 on -49. Adjust LFO 2 speed to taste. I set it to 48. Not too fast.

Now things get interesting. We have the pitch and filter resonance modulated via an envelope and filter cutoff modulated by a free oscillating Triangle wave. Now, I am going to stick the entire result through the Filter envelope.

6) I set ENV AMOUNT to 47 and fiddled with the FILTER ATTACK envelope. I liked the sound of it on 127.

7) At this point it was sounding really organic and squelchy and warm. So I removed a bit more of the top end by setting KEY FOLLOW to -17. This made it seem less bitty and slightly warmer still.

8) For even more warmth, I opened the EFFECTS sub menu and set ANALOG BOOST to 80. I set the Analog Boost tune to 32 since lower values tend to make the sound less bright. I want it deeeeep.

9) I used the Virus B reverb to give it a little extra sense of space so it sounds like a cosmic burp at the centre of the fucking universe. Hell yes. Reverb settings are: EffectSend = 43, Mode = Reverb, Type = Hall, Decay Time = 61, Damping = 21 (to remove some of the high end on the reverb tail), Colour -26 (ditto).

Finally, I set polyphony to MONO3.

Voila. You now have a lovely organic, bendy squelching sound. I then stuck it through a free tube amp simulator called Stereo Greastube and the sound is ready to rock and roll. If you followed through the tutorial it should sound like this:

[[ LINK REMOVED ]]

Last edited by Derivative on May-31-2006 at 22:46

Super posts Derivative!

Thanks for sharing ;D

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Check out Crossfade Collective
Sebastian Zander - Hotel Chaplin
Sebastian Zander - Set Two [Electro/Tech House and Trance of some sort]
Paulo Da Costa - AVGN [Prog. House](128kbps])

Derivative, thanks!
Great tutorial!
Nice, I'll try that on my synths (Supernova 2, Microwave XT and Prophecy). I'll upload the results later.

Get my samples on
http://www.tranceaddict.com/forums/...threadid=347065
and listen them!

I'll make some new FXs and will describe in details later.

Dont let this thread die you lazy fackers:

Access Virus B Effects tutorial Part 2:

'The Martian Tide'

(aka white noise is awesome amirite?)

Load Up C127 again. Because we like building sounds from absolutely nothing. Presets are for chumps.

1) Using OSC BAL, change its value to 127 again so we can only hear OSC 2. Change OSC 2 SHAPE to 0 (i.e. a sine wave). Sound boring and not like waves at all. So use the SEMITONE pot and turn it to 0. i.e. -48 semitones. This will make it so low in pitch as to be largely inaudible. Which is what we want for noise based effects.

2) Press EDIT and scroll to NOISE Volume and crank it all the way up to 127. Change NOISE Color to -26. Note: I actually left it on 0 at first and built up the sound quite a bit before deciding the overall sound was too harsh, so I decreased the Color until I lost the sibilance. You should always be returning to previous parameters and tweaking in conjunction with another variable to get the desired sound.

3) Go to LFO 1 and press the SHAPE button until you have WAVE selected. Change LFO 1 Shape to S&G which is Sample & Glide.

4) Press LFO 1 AMOUNT until you have OSC 2 selected. Change the degree of pitch modulation to -52. Hmmmm...sounding...windy

5) Adjust the LFO 1 speed to taste. I liked it at 75. That was the money shot for me.

6) Go back to the OSC section and press EDIT again. Scroll to the variable OSCILLATOR 2 FltEnv->Ptch and set it at -64 for a nice, slow rise in pitch. Sounds like its swelling. Good stuff.

7) At this point I didnt like the sudden attack transient and sudden release so I changed the AMPLIFIER ATTACK to 96 and the AMP RELEASE to 83. I also changed the SUSTAIN to 34 and SUSTAIN TIME to to -43 so that it falls away.

8) Ok. Time to mix in OSC 1 so go back to the OSCILLATORS section. Change OSC 1 SHAPE to 0 so its another sine wave and set OSC BAL to 0 so you can hear the white noise and the sine wave equally. Press edit and scroll to OSCILLATOR 1 Semitone and set it to -48. We are pitching down OSC 1 to the same degree as OSC 2 for a more drone like ambient quality.

9) Scroll through the digital wavetables using WAVE SEL. You can make some interesting ambient textures here but I liked the bassy drone accompaniement when WAVE SEL was set to wavetable 44.

10) Go back to LFO 1 and press the AMOUNT button until you have both OSC 1 and OSC 2 selected. Pitch modulate OSC 1 by setting its value to +10.

11) Go to the FILTERS section and, using FILTER 1 set it to band pass. Adjust cutoff 1 to taste. I liked it around 120. Lets the white noise through but lops off the earaching super high frequency. Set the RESONANCE to 1.

12) Using Filter 2 select low pass and drop CUTOFF 2 to -28. In the FILTER ROUTING section change the filter configuration to PAR 4 (parallel).

13) I wanted a little roundess to the sound so I increased ENV AMOUNT to 111 and set FILTER ATTACK to 68, SUSTAIN to 22, SUSTAIN TIME to -64 and RELEASE to 127.

14) Go to LFO 2. Turn ENV MODE on and change LFO 2 SHAPE to Sine. Press the AMOUNT button until you have both FILTER 1 and FILTER 2 highlighted. I liked the sound of it when Filt1 was set to -64 and Filt 2 was set to +26. Adjust LFO 2 speed to taste. I liked it at 35.

15) I made a few subtle modifications now. I changed OSC BAL to +46 so it was more white noise and less wavetable. Then I dropped it an Octave using TRANSPOSE. I also increased AMPLIFIER ATTACK to 99. Note that moving the filter with the filter envelope on will change the shape and sudden attack of the 'tide.' Thats because it is being modulated by the FILTER ATTACK envelope. I then decided that there was too much noise, not enough drone so I brought down OSC BAL to +21 and used ASSIGN 2 Source as FiltEnv, set Dst1 to Osc2Pitch and set Amount1 to +63.

16) Time for some effects to space this baby out. First port of call is to change KeyMode to Mono3 and Portmento to 17. Set UNISON to x4, UNISON Detune to 48 and PanSpread to 127. In ASSIGN 1, set the modulation Source as Random. Set ASSIGN 1 Destination to Osc2Detune and the Amount to +63. This tune it out heavily every time you press a note for a more random, natural environment feel.

17) Press the EFFECTS button and scroll to DISTORTION. Change the distortion Curve to Rectifier. LEave its Intensity at 0. Set ANALOG BOOST Intensity to 116 to bass this baby up and give it some solidity. Change the Tune to 32. Scroll forward to CHORUS Dir/Eff and set it to 18. Too much and it sounds kind of spatialized and weird so keep it low. Finally, bring out that looong release tail by adding a judicious amount of REVERB. I used these settings: EffectSend = 104. Mode = Reverb. Type = Hall. DecayTime = 89. Damping = 50. Color = -21.

Try change the Reverb type to Ambience and increase the Effect Send but lower the DecayTime. It sounds quite interesting. You will need to increase the PreDelay though otherwise the slap back on the reverb will hit too soon.

18) Finally I added 2 instances of Fruity Delay back to back and slightly decreased the Input Gain and Feedback so it didnt overpower the sound.

If you followed through the tutorial exactly, the result should sound like this:

[[ LINK REMOVED ]]

Last edited by Derivative on May-31-2006 at 23:19

LFO PANNING MADNESS

Made with reason.

We take a subtractor. It's base setting is a saw. Fine, let's turn down the mod evelopes. Maybe bring up the filter freq, so it sounds a little more full. Okay then a scream set to tape, to really bring it out.

Now, all we have right now is a sawtooth wave. Its not a super saw, cause we only have one osilator on. We are gonna use another osilator now, but it's gonna be the LFO.

Have the LFO set to osci 1,2. That's pretty much the pitch. the amount is all the way up. Sync is turned OFF.

Okay so you got a sound, now put in a midi note that's 4 bars long, or 8.

It should sound kinda wierd cause the pitch is moven around.

Ahh thats right, there still is the issue with the rate of the LFO. Okay mess around with the rate and record it to automation. Do it till you find something cool.

Done?

Now export this 4 or 8 bar sample you made.

Import it back in, now use a nn19.

This is where it gets fun, copy the automation from the subtractor to the nn19.

The NN19 has an lfo also, set it's amouont all the way up, tunr off sync, and have its rate be controled by the auto you just copied. Now hav it assigned to Pan.

You know whats gonna happen now? The sample is gonna pan with the lfo automation of the ocilator 1 and 2?

I think thats cool dont you?

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Post a soundclip. Then combine it with 'Martian Tide' and 'Woodpeck'. Hell we can build the intro to a goa trancer out of just sound effects made by production forum members in this thread.

PutBoy, I wouldnt mind trying to make Woodpeck on my Virus B. I have tried already but its not looking too hot right now. Could you be more specific about the patch creation?