Dj Rap Synthesis
Analog synthesizers have regained some degree of popularity in recent years, as electronic dance music has spread and successful. Although analog technology has become a price less digital modeling technology with more features, the goal of VA (virtual analog) synthesis is to be able to recreate the warmth and nuances of the highly variable analog circuits of yesteryear. The ability of digital components model accuracy is the subject of much debate and more beyond the scope of this article, but the general consensus holds that they are becoming more and more difficult to tell the difference.
With this in mind, the assumptions that this article works under include the following: it has an analog or virtual analog synthesizer with at least one oscillator (VCO) lowpass filter with resonance (LPF) and the monitoring of key (also called key follow on some models), one or more standard ADSR envelope generators pitch type (GE), which can be sent to affect the amplitude, filter cutoff frequency, and preferably, and a source of white noise. Even with a relatively limited palate of sculpting sound tools, a large number of interesting sounds can be achieved.
These articles also makes the following assumptions about the configuration default (initialized patch, if you will) of his synthesizer for the sake of consistency. First, the images of the oscillator (or octave) should be an intermediate position (16 'and 8'). The filter should be wide open (all up to let the sound pass through all affected) with no resonance. The envelope (S) must have zero attack, decay, and relase with 100% support. With these parameters set to previous value, most basic synth sounds can be easily made.
In this article we will examine classic analog percussion sounds similar to the drum machines and synthesizers of the 80s through techno and modern house music. Let's start with a basic sound loop type. Use a relatively smooth waveform, a triangular wave, however, much mixed with white noise is appropriate for your ears. The key here is to find a good relationship between the sound of the shell of a snare drum (the oscillator) and the crack head "drum" approaching the noise. Keep the filter open for now. Set the amplifier to have zero on the attack and to maintain and rapidly disintegrating (a third or less) a bit of liberation. These parameters can be adjusted, depending on whether you go for a more or less realistic sound.
This should bring comfort in the field of classic Roland drum machines of the 80s, which uses signals from the oscillators excited by a noise source to its classic sound. For a pitfall thwipp Kraftwerk-esque type, use the filter in conjuntion with an envelope with similar parameters to the amplifier EG. Set the filter cutoff frequency low enough resonance to taste (Try each setting, but be careful with your speakers and ears with high resonance settings!). Use a healthy amount of envelope modulation to maintain the transient bright with a more moderate decline. Now you can make some sweet synth-pop snares.
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DJ Rap “I’m Ready” Out Now on iTunes
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