Sine wave. Adjust amplitude decay (no sustain) to taste.

 

Yes, thanks.
Maybe You know something about chill synth too?

 

What chill synth? The pad?

 

Yes, short pad, started the most on 0:18

 

I would start simple with a sinesaw wavetable. Start in sine position. Stack a few and detune/unison and spread the oscillators. Then move the wavetable position from sine gradually to saw. Add a lowpass filter to control the harmonics of the saw'y oscillator.

If you use a subtractive synth (Sylenth1, Spire, etc) just focus on stacking oscillators and detune/unison them as well as adding a lowpass filter after it (to tame upper harmonics, if you use saw wave).

 

Last edited: Mar 23, 2019

Thank You! So much sounds to reveal. From where do You know how it's make? This is sinewave or modulated sawtooth? This is hard for me. Do You know how learn, excercise this, any tips?
I selected 4 tracks. Maybe do You know something about it.

1. Aphex Twin - Vordhosbn

A lot of sounds in there
First from 00:00 - 00:06, second 00:07 - 00:27, third started 00:28 and This pri sound 00:44?

2. G-Spliff - I Know

This chillout pad from the beginning?

3. Pati Yang - Si

First from 00:00 - 00:02, second 01:29 - 01:33, third 01:34 - 01:36


4. Boards Of Canada - Seven Forty Seven

00:04 - 00:34

Give Your finger and They take the whole hand. I'm sorry for so many question, but this examples really help me understand sound design.
Thank You for everything.
Cheers!

 

Last edited: Mar 24, 2019

@Baxter doesn't exist to furnish answers to every random question in your head and you should be content that he got back to you at all.

A long time ago (in a galaxy far, far away...) when i was 16, I somehow talked my older brother (who had a proper job) into buying a Korg MS10... Neither he, or I - or anyone i was friendly with at the time - knew how to properly use it. It had no presets, there was no internet and my local library was useless. Honestly, I had to pore over the instruction manual and spend a fair few evenings experimenting with the various options until i properly understood how to get this little synth to make sounds at my command. That was just the beginning of a very, very long journey in music & synthesis...

Sorry @Roject, but to con yourself that you can somehow cheat/fast-track/AZ forum your way to competing with commercial producers & artists (who have spent years developing their chops) without even bothering to take time to grasp the fundamentals - tone generation, filtering, fx & post-processing parameters/options - well, at best it highlights a breathtaking naivety.

If you're serious about sound-design and DAW production then seriously you're gonna have to commit serious time and effort to learn... with so many online learning resources available (a million youtube vids for a start...) there's no excuse - if you're serious.

Choose one DAW and stick to its built in synths & fx - at least initially. Get your head fully around how to use all of the primary features. Become proficient, then expert! Only then should you even begin loading-up on 3rd party plugins - or indeed placing random posts asking people you don't know to waste their time to make you sound good, just because you think you can... when in fact it's plain that you can't - 'cos at this time you seriously don't know how...

 

Last edited: Mar 24, 2019

You are welcome! It has taken me years and years of experimentation, noodling, tweaking and being curious.

1) Aphex Twin is one of my biggest influences. I started out with trackers and somehoe always suspected that he used trackers, since I recognized the micro-edits and things that you can only do in trackers. Vordhosbn is one of my favorite tracks. It starts with the melody that has bit crusher, maybe some ringmodulation and runs through a reverb. The track uses mostly 22kHz samples throughout, some of which have panning envelopes (that plays independently, per sample trigger). This makes it huge and wide, despite being "simple" sonically.
The two first sounds you are refering to are quite similar. Just export at long note and play them in a sampler.
The "pri" sound seems to just be a portamento (or pitch envelope) with selected values/subticks (like steps) of pitches before it reaches the destination note. Pretty common and can be done quite easily in a tracker program.

2) a pad that is distorted (or parallel distorted) and filter modulated. It has a delay that is panned a bit to the right, so the source is a bit more to the left.

3)
1. Pitch envelope and delay.
2. Lol. Sounds like a distored and highpassed trumpet layered with a timetretched squeeky door.
3. Sounds like a "typical" TB303 in saw mode and some cutoff modulation.

4. Two sounds. A pad layered with what seems to be a vocal sample. They have reverb (the vocal has more of a metallic reverb) and the auto-panning is quite radical.
Boards of Canada are great!

Send me chocolate. Stay curious!

 

True. But I like to help out (as I was once there myself, so I'm "giving back").
I do like chocolate though!

 

Your suspicions were correct. As you know that is exactly what he used. On the video posted by the OP you can see he is using the PP (PlayerPRO) which was his favorite tracker.

 

Last edited: Mar 24, 2019

Yeah, that's what was confirmed when I saw the video last year. I had had my suspicion since 2001, but we all know how secret Richie is about his stuff.

 

I have one more question about track Breathe and Mirwais track.

Sequence/Arp Sound started at 2:06

This Sequence/Arp sound is made by using TB-303 or something different? This is a characteristic sound i hear them somewhere. How to recreate them?


Second question about Mirwais track

Sound started at 1:23

Is this sound maded by TB-303? Is possible to make something like this in vst like abl2 or 3 or Roland Cloud TB-303 or only on hardware?

Cheers ;)