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Messages - glorkglunk

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Sound Design / Re: SERUM Tips & Tricks
« on: January 11, 2016, 09:12:45 am »
A few things I've been doing lately:

Vocal phrases as wavetables: (I know I know everyone has done this but..) an interesting trick I like to do with this is to actually use them a bit like a vocal chop like you would do with actual lyrics. if you write a melody and automate the wavetable to a different place each time it's pretty easy to do this. You can also use the NoteOnRand in the mod matrix to do this for you if you feel lazy but I tend to get better sounds when I choose them myself.  Also you can make these bubbly with the bend/asym warp modes. I find that bend will make it more bubbly but vocal phrases generally sound more comprehensible with the asym modes.

Another thing I've gotten decent results with is importing via fixed frame size in the oscillator tab (I like to use 1000-2000 samples) with short snippets of water or other foley, like a brief splash. With some normalizing and proper morphing this can sound super cool and can get vocal sounds that are just as interesting or more than say, using a percussion sound, though if you want to use them as a bass sound they might need some low end reinforcement.

Also, for making crazy bass clips to resample I like to map a ton of different parameters, basically everything that sounds like an interesting movement with the sound, to lfos with some parameters being modulated in different directions by multiple lfos to create more unique movements. Then rather than actually pouring blood sweat and tears into the automation for 23 parameters all by myself like our forefathers did I just modulate 2 or 3 lfo rates and change the lfo shapes to something interesting. This should give you some movements that sound distinctly different than hand done automation, but not necessarily in a bad way. I particularly like to automate the wavetable, sync, and a morphing filter's cuttoff and morph position and then put the multiband compression or some distortion afterword, then put another phase filter with another lfo on or something to get a particularly wacky sound. These are definitely too crazy to put the entire thing in one song so I like to render a long clip of one note and put it in a sampler after.
Also if you still really feel too lazy to automate a few lfos you can also just use the chaos in the mod matrix and automate the chaos rate. I hope you're happy you coward.

Hope this was useful! I can post examples if that's something anyone wants.

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Sound Design / Re: foley/field recordings
« on: January 11, 2016, 08:34:26 am »
Don't see anyone talking about processing field recordings here, and though I do record my own I think how you use them is much more important so I think I'll pop in with a few tips on how I like to make my recorded textures more texturey. 

First of all one of my favorite ways to get a fun tail on some foley that keeps the texture is to use a delay that re-pitches as you automate the delay time. If you have a few seconds of glass or leaves this can make the sample way crazier quickly.

I also like to run longer bits of foley through glitch plugins like buffeater and glitch at the tempo of the track I'm working in, then resample it and use little hits that are glitchy but kind of still synced feeling somehow.

Another thing I like to do (which is arguably made cooler if you have ableton 9.5's simpler) is to take a piece of foley and put it in a sampler and rather than actually write a part to the song to literally just record myself dragging a midi note up and down triggering a million notes while moving the start time. The volume and filter envelopes you put in the patch of whatever sampler you're using can have a huge effect on the character of the sound so I would say to experiment with that too, especially if you have self oscillating filters like the new ones in ableton 9.5.  Also try timestretching if you have the new simpler, but unless you have a powerhouse pc this may be tough on complex mode. The sounds you get with this trick can also basically be treated like foley and you can get even crazier results trying any of these tricks on them again.

Hope I got some interesting stuff, I didn't cover stuff like layering with drums and granular resampling/timestretching because I feel like there are enough resources on them already. Also if you want me to post examples of any of these tricks I would be happy to.

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Sound Design / Re: Pad Design Thread
« on: January 07, 2016, 11:38:54 pm »
I like to take entire melodic sections I've already written and choose a few instruments, douse them in reverb, resample them, and reverse them. This gives you really good fodder for doing granular resampling and stuff. Also these sounds will almost certainly work with your track as long as you don't do it to a section with a million fast key changes.

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