So after two months of learning, I just finished syntorial with serum lesson packs (well, few serum courses left but I'll finish them soon), now I know the basics of synths, but still got no idea when recreating a heard sound, maybe is because I use the hint in group courses too much.
I'm looking forward to be able to make some real instrument patches and EDM-oriented patches, and make any sound in my head, ultimately. Should I dive into tweaking knobs, or should I try to recreate other's patches, or learn other lessons, or watch how others make their patches?
I've watched some tutorials people uploaded, like how to make an electric guitar sound with serum, but it seems just pure boring procedure, and I can't learn anything useful of how to think when making that sound. It just seems so random and everyone does different things.

 

download a preset pack and try to reverse engineer the presets you like , figure out why it sounds this way dont just recreate it , you will realize there are some patterns and techniques commonly used to get a certain sound , spend more time making music than watching tutorials because there is alot of skills and small details you cant learn unless you start doing it yourself

 

Wow thank you so much for your advices, I'll start following your instructions soon.

 

Do you own a hardware synth? I find that physical controls are more pleasing to work with when experimenting with different sounds, while using a mouse with software synths is completely uninspiring for me.

 

Last edited: Feb 10, 2022

Hello @ArticStorm, it started in 1998 when I bought my first synthesizer, a Roland XP 10 Multimbral Synthesizer.
I've been playing acoustic guitar since 1982 and later electric guitar in 1999. We shared a practice room with several bands and played just for fun. I bought aYamaha - MT 50 Multitracker Cassette Recorder and we recorded various things. We also had a few pieces, but dsas joint music project and fell asleep.

I was actually making sound collages. I was recording video samples and playing a little synthesizer to it. I make a tape - however, the quality is poor. At that time I worked as a trained cook in shifts. For a long time I have been unable to work. So I had all the time. The PC's became faster and the virtual software synthesizers better and better.

I did not like the factory presets of the synthesizers and I learned as an autodidact the synthesis. All beginnings are difficult. Actually, sound shaping is the replacement for my former work. Instead of standing in the kitchen for 9 hours plus going there and back, I turned the knobs between 6 - 9 hours a day. Since I wanted to give something back to society, I decided to offer everything for free.

I first posted on PatchArena (which no longer exists) and then it became more and more, new synthesizers and I really wanted to be creative and learn something quasi a challenge. I moved then, after giving up PatchArena, to Magix where I have 500 MB free. Since my website and the fileshare is free, I have no costs.

I make music so why and am creative and if others like it, then I'm very happy. Art can mean that you don't know beforehand what will come out, that's the exciting part. Every synthesizer is different and you have to get involved with it for 2 or 3 days before you know how it works and sounds. The magic is actually that you screw around and think about which knob does what and then suddenly it's there, the sound you were looking for - yes that's how it should sound, so you know then at some point the sound is O.K., I save it.

There are also sounds that you almost despair of, because it always jumps over 1 dB. Or it lacks some magic in the sound but you do not get it, there you sit sometimes several hours, until he sounds perfect. There are also synthesizers where you think, Oh man - if I can do this, it's hard. Then you read the manual and somehow it goes on and on.

I got the Reface CS from Yamaha and if I manage 200 presets I could keep it. Or alternatively 1 EURO per preset. I then took the synthesizer, 5 days work and 1 week rest. So dear ArticStorm professionally I don't want to do that at all. Apartment, electricity and food and insurance, you have to work for the film industry to get enough money together. And creativity doesn't come at the push of a button.

Especially since it is very time consuming and you should stop when it becomes stressful. Otherwise your fingers will hurt and the mental stress will be too much. Everyone should really do what he is best at, and what he really loves, then it will be easier. Sound designer professionally you should only do if you are very good and have orders from television or advertising, you will already know what to do, because profession comes from vocation.

So a synthesizer comes on the market, the factory presets are bad (for lack of talent, time and money on the part of the software developer) I make presets and then publish them and the manufacturer I send an e-mail, here are presets and everything for free...!
If a synthesizer has only a few controls and few envelopes and LFO's and no ModMatrix, then there is also not much rauzszuholen from the synthesizer.

Some synthesizers have very bad filters, there is then quickly end with new sounds. If a company is a bit bigger, the freelance sound designers get an order to create a soundbank with a deadline. Some get 50% per sold soundset and some get 1 EUR per preset depending on the company sometimes more sometimes less.

For the companies it is important to sell high quantities. The company Korg in Japan is a very small company but very innovative and powerful. They have many talented and intelligent people there. They really make products for people.
In my opinion it is a question of how much time the user has and partly it depends on age. So someone who works, makes music in the evening about 1- 2 hours, some people love hip hop, some people have contact libraries, some people make disco and others play guitar and record it.

For unique sounds you also need a unique synthesizer. When the sound designer Luftrum makes presets for the Pigments, I hear the typical Luftrum sound, when BigTone makes presets I clearly recognize his handwriting. I try to get everything out of the synthesizers that they offer. I don't make styles like trance or hip-hop, but I deal with what the synth can do and what you can get out of it. For me simple basic sounds belong to it. A nice pad pad sound and sometimes you are lucky - that about 3 out of 128 sound extraordinary.

@ArticStorm, I am as always again a bit rambled, but I hope I could answer you.

 

There was an analog world before 2000 and there is a new digital world since 2000. Even touch displays exist. I also used to work with real controllers. For me, some virtual synthesizers have more sound possibilities. Some musicians like Yello from Switzerland have sold their entire hardware arsenal. I think it goes both ways and there will still be real knobs and hardware.

Welcome to Sonic SiriusThe 'Sonic Sirius' Soundsets website,is a platform for my hardware and software synthesizer, such as the:

- Access Virus - TI Snow
- Novation - MiniNova
- Waldorf - Blofeld
- Yamaha - MX49
- Roland - SH-01
- Korg - R3
- & some Virtual Software Synthesizers

http://ohlenbostelhelge.magix.net/public/

 

I prefer soft synths for convenience and variety, but you can't beat the single function controls on a hardware synth for the purpose of interaction. Don't forget, I was answering the OP about learning synthesis, and it's much more satisfying if you can twiddle some real knobs

 

Yes, if the synth has enough knobs then !

Unfortunately, many manufacturers have rationalized away many knobs for the sake of rationalization and cost. Such a controller costs 2-3 EURo (I think). The main focus is the one menu with sub and submenus. Which is no fun at all but a torture. The Waldorf Blofeld little controller much submenus. I have screwed 3 soundbanks and then sold it. The " Korg - Electribe EMX-1 SD " still had real controllers, that was great, but the production was discontinued. Dei new from Korg also have fewer controllers for more submenus.

The salvation for the Korg - R3 minidisplay was the editor, with him you could screw presets on the PC. The Yamaha also has wiziges display there you can not work with - no controllers but push buttons also here was an editor the salvation. The highlight is then the Yamaha reface CS which has only one preset and no memory to save presets, you have to connect online to play the online presets.

 

My pride and joy is an original 80's Korg MS-20, and I'm looking for a Roland Juno 106, but they are hard to come by at reasonable prices. I do have an Alpha Juno, which has the controller problem you mentioned, so I use a software interface for that

 

Such a killer synth is fun to make music with after all. I would be happy and proud to own and play one of 20 000 made.
Is also nice piece to touch, makes good at home. At least Roland has digitized the Roland Juno 106.
It's not the same as the original, but it saves the idea and knowledge of the time for people with less money.

 

Syntorial doesn't emphasize the importance of ear training enough. And it's years of work, as our Mister Science-Is-Not-Art pointed out.
Eventually, after lots of deliberate practice, you'll develop a more intuitive understanding of what different things do to the sound.
Also picking a synth and sticking to it for some time helps, as there are lots of tricks and quirks unique to each machine.

 

No but I have a midi controller with 9 knobs+9 sliders * 4banks, and so I could map most of the common knobs, I guess that gave me about the same experiance like hardware synth controls.
And I must say, it did feel better than tweaking with mouse.

 

Last edited: Feb 11, 2022

This book's actual written text is only about 60 pages, but it might be the closest thing to what you are asking for. pgs 29-39 is on "Synthesis Through Harmonic Analysis and Reverse Engineering" and Freakoscope.

 

Last edited: Feb 11, 2022

everything you need to know is here:

2 min and you re a sound designer (.....jk)

 

@BEAT16 Hi. Is wider spreading the links for the books possible? Thx

 

Get used to making sounds from scratch. Attempt very simple goals like a bass, lead, synth brass, pluck, pad, and varying filter envelope movements on other synths. Get comfortable with using filters, LFOs, envelopes, and basic fx. When you don't have to think about what they do anymore, it will be much easier to replicate sounds.

While its good to deconstruct existing presets, don't do this too much, because those tweaks are not some standard to follow. Especially complex presets...they are usually some abstract experimentation by the creator (they probably don't remember what they did). Instead, deconstruct only when there a specific characteristic you're after. Spend more time creating presets and you'll become a pro. Tutorials help, but too much hours is a waste. The professionals learn from spending more hours working on it, not learning about it.

Paid sound designer here.

 

Take a look into your Post Office !