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How would I make it more ambient and pad ish?

You could try using a high-cut filter and filter out the 10k+ frequency range. Those higher frequencies tend have a cutting effect that makes things sound closer. If you muffle the sound up, it will fall into the background more, creating a more ambient effect.

Another thing you could try to get more ambience is to use slight detuning modulation from the left to right ear for that channel. This will give you that WIDE ambient effect instead of having the sound just sit in front of you.

Yea I eq'd it a bit and it def sits better.

I played around with it more and have made it better by stretching it out more.

Basically what I did was apply a ton of reverb directly onto the sample, then bounce it with the tail and reverb, so the new bounced audio contains the reverb. My question, do I need to add a 2nd reverb onto the bounced audio that already has a reverb? I am worried all the reverb will muddy up the mix.

The problem is it sounds more like a faint stretched vocal fx as opposed to a pumping white noise echo. I still like what I made and can use it in the mix, but I need it more atmospheric and white noise like. Do I need to stretch it more or apply more reverb?

Quote from: Mussar on June 16, 2016, 02:09:08 pm

Super wet reverbs are your friend.

Try placing a 75-100% wet reverb on your vocal track, or setting the reverb send pre-fader and keep the volume of your vocal track down.

Quote from: Mussar on June 16, 2016, 02:09:08 pm

Super wet reverbs are your friend.

Try placing a 75-100% wet reverb on your vocal track, or setting the reverb send pre-fader and keep the volume of your vocal track down.

Try using this technique on one snippet of your vocal looped. For example, an 'ooh' or an 'aah' looped throughout your drop very wet in the background can really fill out a mix and achieve the thing you mentioned.

Def trying these out. When you say set the reverb send pre fader and keep the volume of the vocals down, do you mean kind of like how you side chain the reverb effect to the vocals? Like how bass gets sidechained to a silent kick loop?

Is it better to create this effect by using a reverb send or by having reverb on the actual main bus as an effect?

What kind of reverb settings would I want for vocals? I know for percussion and hats it's better to have a shorter reverb, and longer for pads plucks etc.

What kind of reverb would vocals need? Would I just be playing around with vocal plate presets?

Are there specific vocal reverbs for emitting certain vocal emotions? Like would there be a certain type of reverb for a darker moody sounding vocals, vs another type of reverb for some hands in the air festival uplifting sappy vocals?

Thanks guys.

13. Duplicate some of your vocal and drown them in reverbs and sit them back in the mix. Adds to the ambience of the track.

Any tips or advice on how to do that or perhaps a video for some inspiration? Am looking to create some nice ambience from the vocals of the acapella that I am working on. Appreciate it, cheers mate.

Quote from: AB69 on June 08, 2016, 08:59:28 am

I have sample packs and i've found some sounds, but when I use them they feel more like individual hits rather than effects that seem to relate that driving the track forward.

Still needing help with the synth designs...

I've been stuck on production because I cannot make these kids of acids and stabs...

stabs are like plucks, but with a ton more effects.

acid basses are really just filter movement with a little more resonance than you think.

What kind of effects on stabs?

What would I be filtering for acids? Lets say I am using Spire, and I map the cutoff knobs to the envelope. What else would I be filtering/modulating? Would I be mapping anything to the LFO for like a 1/4 or 2/1 or some sort of filter timing? I dont know what I want be filtering though. I know you can do cutoff, but what else? Phaser freq? oscXweight?

My acids that I make in Spire don't sound anything like what I want them too. They are either too thin, raspy, or muddy. I can make acid arp atmos in Sylenth to fill the space, but I cannot get a good sound design on a main strong thick acid to drive my tracks.

Quote from: Marrow Machines on June 03, 2016, 11:12:21 pm

I hear a lot of like bit crushing going on to get that bite and grit. also a few other forms of distortion of the signals (probably tape)

it all seems like really simple stuff though.

these are pretty simple  sounds with basic effects.

God i love the trance kick

I know there's probably going to be some bitcrushing, distortion, overdrive, etc. to make it more gritty.

I'm just having trouble getting the start of the sound in any synth. I think most of these sounds are made in Spire. IDK how to explain it but my sounds sound weaker, thinner, comes in weak.

How would I go about making these sounds? Especially the random acid and tech stabs?

Looking for some help and advice on creating sounds often heard in tech trance and psy trance.

Need help with sound design with acids and stabs/chords. Specifically, I am having trouble getting a good drive from the acids/stabs. I feel like I tend to rely on too many acid lines that are arppegiated over a bar or 2. I am trying to make a more "techy" drive. I will provide some examples to show you what I'm talking about.

Right now my acids/drive kind of sounds closer to this first track:

https://www.youtube.com/watch?v=cb0UcyFoFoo

@1:24

Notice how the acid is a bit thinner and arppegiated and automated but it kind of stays the same and drives the track until the breakdown. The acids here sound more like atmos.





I am trying to go for these kinds of sounds:

ttps://www.youtube.com/watch?v=Z_66wbB_T6A

@0-1:09 Random stabs, acid hits (0:16, the offbeat acid hit)
@1:10 The thick deep phaser acid with the stab

https://www.youtube.com/watch?v=H0zlYEv88VE

@1:52 Stab
@ 4:14 Stab

https://www.youtube.com/watch?v=WIJX1LXH5pk

@0:00 Low Acid that builds
@0:18 Stab

https://www.youtube.com/watch?v=mJtbf8hEK8o

@0:55-1:48 Acids & effects

I can't for the life of me get any similar sounding sounds in my synths. I use Sylenth, Spire, Serum, Zebra, Hive. The only thing close to that I have gotten is the stab from the final track example.

I can't come close to making any psy acid hits like the last track example I posted.

Will appreciate any help, thanks.

Looking for help creating a modern thick plucky trance lead.

https://www.youtube.com/watch?v=StXLJJh2E18
Starts at 1:47

Am struggling to make it sound thick, quick, yet like a lead. My leads seem to sound too "sawwy", not as thick or in your face.

Would like to know how many layers is needed. Right now for my leads I usually work with 5, 1 in the center, 2 panned harder r/l, and 2 panned slightly r/l, but I keep hearing how less is more.

I also like to know if there is any delay or reverb automation? Sometimes when the lead opens up it sounds like there is more delay as well or could it just be the filter opening?

I am also interested in knowing, when the lead goes from plucky to open filter, is this better achieved by automating the lead to go from plucky to open filter or better to have the first lead come in plucky then 8 bars later have some open saw lead layers accompany the first plucky lead? I hope I explained that right.

I also own most of the main synths like Sylenth, Serum, Zebra, Spire. I just can't seem to achieve that thickness with the saw sound. I can adjust the ADSR to make it more plucky but it still lacks the thickness in the initial attack.

Edit: I seem to notice that if I leave the compressor on in the synths it is much more thicker and pluckier, but I always thought it was best to take off the in synth compressor and use a compressor on the master bus?

Would a compressor on the bus plus the in synth compressor be too much or is it a case where the in synth compressor doesn't actually compress all that much (i've heard this about Sylenth)?