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Synth Secrets is a series of programming tutorials in which we show how to make a range of classic and new synth sounds using plugins such as Massive, Sylenth and Predator.
In the first of a new series, we build the kind of dusty, one-note ‘stacked chord’ popular in old-school house and garage using Native Instruments’ Massive.
Here’s the sound we’ll be making:
Much of the sound design work in this patch revolves around tuning the oscillators and using Massive’s voicing section to generate chords from single-note triggers. In house and garage you can often get great results with minor 7th and minor 9th chords, but for this basic example we’ll keep things simple with a minor triad, which consists of the root note, minor 3rd and 5th.
Create a new patch in Massive. Ensure all three oscillators are turned on and that the Amp setting for each oscillator is turned fully up, then set the Pitch of Osc1 to 0.00 (the root note), Osc2 to +3.00 semitones (the minor 3rd) and Osc3 to +7.00 semitones (the 5th). Dial the Wt-position and Intensity to 100% for each oscillator.
The MIDI pattern we’ve used is show below, but you can program or play whatever pattern suits your track.
Move to the Voicing tab found in Massive’s centre panel. Click and drag up in the box underneath Unisono and increase the number of voices to 2. In the Unisono Spread panel to the right, turn Pitch Cutoff on, move the Pitch Cutoff slider all the way to the right and increase the number in the right-hand box to 5.00 by clicking and dragging upwards. This may push Massive’s output volume into the red; if so, reduce the volume a touch.
With the raw patch established, it’s time to shape the sound for the purposes of the track. Let’s mellow it up to start with by clicking on the pull-down menu to the right of Filter 1 and choosing the Lowpass 4 filter setting.
At the same time, move the Filter Mix slider to the right of the Filter panel up to the top so only Filter 1 is affecting the patch.
Now set up a modulation envelope 1 (1Env) to control Filter 1’s cutoff frequency by clicking and dragging 1Env’s blue crosshair in Massive’s central panel and dropping it into the first modulation slot below the Cutoff dial.
With the cutoff frequency of Filter 1 turned down to 0, click and drag up on the blue-lit number 1 in the below modulation box to apply envelope modulation to the filter. We’ve dialled it in at around the 2 o’clock mark.
You can now play around with different filter and envelope settings to help the sound fit the vibe and groove of the wider track. In particular, play with the attack and decay envelope values, alongside the cutoff frequency and resonance values of Filter 1. To get the sound in this example we’ve chosen a farily swift attack and longer decay.
Adding some effects really brings the sound to life. In this example we’ve used a combination of Massive’s reverb and Dimension Expander. To set these up, go to the FX window and select Reverb from the FX1 pull-down menu and Dimension Expander from the FX2 pull-down. Tweak the values until you get a nice lush, harmonically interesting halo to the sound. (Anything from subtle distortion and chorus to snapback delay can also be introduced here to supply the required vibe. Tape saturation will also work well.)
To thicken the tone further, try transposing the pitch of OSC1 down one octave (-12 semitones). Now add some subtle detuning of OSC2 and OSC3 to give a nice warmth to the sound. Applying modulation to the filter cutoff frequency, or automating the attack and decay of the amp envelope adds tension (note the way the sound ‘opens up’ in the third bar of the audio clip).
This is a great starting patch to experiment with. For a darker tone, try altering the Pitch values, Unisono voices and oscillator wavetables. In this example the pitch of OSC2 has been set to +5.00 semitones and the pitch of OSC3 to +8.00 semitones. The wavetables of both OSC2 and OSC3 (selected from the drop-down menu to the right of OSC2 and OSC3 respectively) have been changed to Strontium.
Now change the value of the Unisono Spread to 7.00 by clicking and dragging up in the box. This final step gives the vibe of the hook a distinctly different feel. Remember to keep an eye on the master output and reduce its volume if necessary.
Synth Secrets is sponsored by
u-he are makers of award-winning software synthesisers and effects including Diva, Repro-1, Zebra2, Hive, Bazille, Presswerk and Satin.
Download the demos and try them for yourself at www.u-he.com
Wow! Great tutorial again Attack!
I kept trying to play chords and get them to sound like this, but the ‘less is more’ concept seems to shine here.
(as one way to get chord stabs) Tune the oscillators to the notes, not actually program the notes to get the stab sound – great insight gained today.
Corr, I havn’t used massive for a while, time to fire it up!
Looks like a great tutorial, cheers.
Sound design is something I constantly struggle with. There is such a fine line between “unique and danceable”, “cheesy cliche´” and “a terrible, terrible mess”.
I’ve literally no idea how my idols constantly come up with new sounds that are both unique and sonically useable as something you can dance too!
This is awesome! Such a great sound to make! Usually all of the tutorials I see on youtube teach how to make uninteresting and boring sounds, but this sound is classic! and it sounds amazing! Good work Attack! Looking forward to see what this series has in store for the future :]
Great tutorial, and really great idea of “dissecting” synths. Sometimes i forget how easy it can be and i just throw tons of fx and tons of modulations.
Awesome tutorial! Keep them coming!!
I’ve just began using Massive and this has been a brilliant Tutorial to get me started! Cheers
Looks like you started a new section “synth secrets”, hope it fills up quickly. I guess this tutorial could be applied to a good hardware synth as well? Specifically thinking of my Alpha Juno.
Stef – it depends on the synth. Your Alpha Juno only has one oscillator per voice, so you can’t do it quite the same way we’ve done it, but the Juno has a trick up its sleeve in the form of the chord memory function. You can use that to mimic the effect of the three oscillators here. The Alpha Juno has a great filter and excellent envelope generator, so you should be able to get very close. Try the chorus too – it can work really well on this type of sound.
More in this series coming next week!
Attack – I figured the chord memory would come in handy. Thanks so much and keep posting.
Great tutorial. Love all this kind of stuff, would love a download next time though. This sentence confuses me though: “The wavetables of both OSC2 and OSC3 (selected from the drop-down menu to the right of OSC1 and OSC2 respectively)”
Change OSC1 and OSC2 to strontium or OSC2 and OSC3?
Hey Nosebird, that’s a typo, it should have read:
“The wavetables of both OSC2 and OSC3 (selected from the drop-down menu to the right of OSC2 and OSC3 respectively)”
great tutorial. ive rooted number 2 envelop to attack of envelop 1 but cant manage to get it to open up in a similar way you have on the 3rd and final bar ends up sounding wobbly the for the whole 8 bars
Nosebird, sorry for the confusion. We’ve amended the error.
Thank you attackmagazine.