how do you get this sound, the thread

In that case if you have a pulse wave as the carrier but you can modulate the width/shape of other basic waves too, just not technically called pwm.
More meant that pmw is another route to getting twangly, bouncy, physical sounding noises outta yer synths.

Has nothing to do with anything, but yesterday I made a ~2MHz PWM circuit based on the CMOS version of the 555 timer chip, and I couldn't amp the output cuz I couldn't find a MOSFET that is quick enough.  Before that I was using crystal oscillators, and I had the same problem.  'Tis life...

Or, my circuit is just pretty shit.  Haha.

Theres a weird kind of modulated delay spectral sound in this one im a bit stumped on....have heard in the likes of Devine etc too

https://schematicmusiccompany.bandcamp.com/track/takagoro 

Happens only once i think...

?

You mean @00:49? If so then it`s a comb filter with modulated frequency. cool track!

Comb filter yes of course....been f ing with the one in renoise with key tracker and u get some mad shit pretty similar...yes cool track...the subjex one of that comp is also the balls

Guys. Maybe you can help me with this one. I'm very into Deepchord these days. I would like to know what kind of synth he's using. It's sounds like it's one synth (the short notes and long ones). Any thoughts on this? okthxbye

https://reviews.headphonecommute.com/2015/12/29/in-the-studio-with-rod-modell/

I want that kick from Mt Saint Michel

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I want that kick from Mt Saint Michel

 

Which Kick? The one at the very beginning? Are you actually wondering how to get it or just saying it sounds really awesome?

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Guys. Maybe you can help me with this one. I'm very into Deepchord these days. I would like to know what kind of synth he's using. It's sounds like it's one synth (the short notes and long ones). Any thoughts on this? okthxbye

Man I chained Deepchord to death early last year. I know you are just looking for the synth, but I'm just gonna say that that pad can be replicated in so many ways. It does sound lush, but I think all the space in the mix and the general warmth has a lot to do with it. Sometimes what's going on with the other sounds will essentially make some sounds better. But if you imagine away all that vinyl warmth I'm really just hearing simple synth stabs and lush pad strikes that can be made with any synth. Also, it sounds like it's monofied  (could be wrong) and really warm sounds are even warmer when in mono vs being spread thru the stereo, especially with some subtle chorus or unison.

Did early Art of Noise use a drum machine for these kind of kits or were these all Fairlight'd samples of real drums?

Um.

guess: It's a saw with some unison? Mono. There's a little vibrato on it, a little lfo on the pitch. It may or may not be sync'd with the tempo. I can't tell if you also put an lfo on the filter since it seems to duck in and out of the upper frequencies a tiny bit? If there is, it's subtle.

There's also a little release after every note. Quick attack.

Looking at :12 with letting it die. It seems the lfo on the pitch isn't a straight up sine or triangle. It seems to stagger a bit. You may be automating the lfo of the pitch until it made a nice sound, or you may be using a weird shape as the lfo.

That's a start anyway.

np!

It may also be a PMW, and not a saw. Just try them out. I'd use a synth with a lot of options when trying to replicate a sound.

Oh yeah, it also sounds like you're using an analog synth, or a plugin meant to replicate analog.

oh yeah again, if you used a sine mixed with the saw, it would definitely increase the volume of the fundemental. It's worth a shot.

oh yeah x 3. The attack may be layered with another oscillator . that's attacking quickly. That makes the transient at the beginning, and the other osc. is what I described above.

I think he was just asking for the synth. But that's cool to know. You can kinda tell they're the same patch with a different envelope due to how soft the stabs are.

Im sure all of you have heard this (and yes, I bought the album when it came out, not after Aphex played it). 

Can anyone clue me in on what kind of compression madness is going on once the drums kick in? It feels like at least 3 or 4 things are sidechained to other things....that's about as far as I've got. 

  On 4/12/2017 at 12:31 AM, Auditor said:

Im sure all of you have heard this (and yes, I bought the album when it came out, not after Aphex played it). 

 

Can anyone clue me in on what kind of compression madness is going on once the drums kick in? It feels like at least 3 or 4 things are sidechained to other things....that's about as far as I've got. 

I'm a relative novice when it comes to synths, the bulk of my music is sample-based, acoustic-based, or simply winging it with synths and seeing what noises I can come up with somewhat randomly. Anyway, there's a kind of pad sound that I'm really fond of and I'd love to know what particular hardware and / or process is used to make it. 

The main pad throughout this track:

One of the pads on this track - most obvious from the 8 minute mark to the end:

And a similar sound is all over Incunabula as well:

I know at least part of the thing that links the pads on these tracks is the filtering (particularly the enveloped filter (I think?) on the first two), but I'm sure it's more than that. There's a certain texture to those sounds that I absolutely love and would love to recreate. There's such a stark, almost lonely sound to them. Anyway, if it's not just a case of me pulling together three fairly disparate things, then all tips would be appreciated :)

Juno 106 with the envelope triggered moderate-to-high resonant band-pass VCF... I think

lol came here to check out message and respond, ended up headbanging to Autechre. The 3:20 mark of Windwind never gets old.

For the HIA track, I reckon the synth is most likely digital, definitely polyphonic; oscillator used is something simple like triangle or sawtooth; filter is low-pass with a good amount of resonance; envelope controlling the filter frequency has slow attack and decay; envelope controlling loudness also has slow attack & decay; seasoned with chorus, maybe delay.

Ae's windwind sounds more like two layered synths: one is responsible for the pad chords alone; with a second synth playing a single note, passed through a LP filter and the resonance adjusted probably by hand.

  On 6/15/2017 at 7:21 PM, IOS said:

lol came here to check out message and respond, ended up headbanging to Autechre. The 3:20 mark of Windwind never gets old.

 

For the HIA track, I reckon the synth is most likely digital, definitely polyphonic; oscillator used is something simple like triangle or sawtooth; filter is low-pass with a good amount of resonance; envelope controlling the filter frequency has slow attack and decay; envelope controlling loudness also has slow attack & decay; seasoned with chorus, maybe delay.

 

Ae's windwind sounds more like two layered synths: one is responsible for the pad chords alone; with a second synth playing a single note, passed through a LP filter and the resonance adjusted probably by hand.

Incunabula is the only Ae album I can listen to in almost any mood. I was searching for that particular sound and ended up listening to the whole album ha.

Cheers for the filtering tips. I often seem to struggle using filters effectively, but I'm just going to have to keep playing until I get the right sound.

  On 6/16/2017 at 4:35 PM, purlieu said:

 

  On 6/15/2017 at 7:19 PM, mcbpete said:

Juno 106 with the envelope triggered moderate-to-high resonant band-pass VCF... I think

Oh good, something cheap 

Something in the back of my mind said it might be a Juno. Sigh.

 

There's free: https://tal-software.com/products/tal-u-no-62

and there's cheap: https://tal-software.com/products/tal-u-no-lx

I'm only really using software to collage stuff together when finishing an album now. I find actually composing using a DAW really depressing these days. Thanks though!

  On 2/15/2017 at 7:23 PM, psn said:

How do you pwm in fm?

In ableton operator it is possible to do FM. You use two square waves but put one out of phase like 25%. Then the level parameter of the second operator works like the pulse width parameter which you can mod with the lfo.

There's a million things i could ask about the sounds in ae_live, but to pick one anyone know what's going on with the bass line in the opening section of utrecht. How is it that squelchy?

https://youtu.be/F6cXh21-x54

Dual filters are usually very good for that!

1:56 bass line. what synth and how?