9 Speakers-Blowing Sounds (Part 3)

Step by step: Crazy rave lasers

Click the Mod Matrix 1>12 button to bring up the modulation matrix, and set the source slot of the second row to LFO 1

1. There’s nothing like a laser effect for adding intensity to a track, and it’s possible to make these simple sounds with practically any virtual analogue synth. Let’s use Dune CM. start by clicking the Bank B button to get an initialized preset. This gives us a sawtooth oscillator by default, which is perfect, as that’s the basis of this sound.
2. All we need to do to get the most basic laser effect is modulate the pitch of the sawtooth oscillator. Click the Mod Matrix 1>12 button to bring up the modulation matrix, and set the source slot of the second row to LFO 1. Set the destination to Osc 1 Semi, and try increasing the Amount value as you play a note.
3. You’ll hear that the sound starts to oscillate in pitch. This doesn’t really give us the effect we’re after, though, as the LFO is set to a sine wave, which gives the sound a seasick, undulating feel. Click the sawtooth button in the LFO 1 panel to make it a sawtooth shape.
4. Now, with a positive Amount value – say +36 – this gives us a download laser effect. That can be useful, but what we really want is a laser sound that goes from low to high. To invert the modulation, simply set the amount to -36 instead. This results in a sound that’s perfect for club tracks.
5. Currently the LFO is free-running, which means that it starts at a different point each time you play a note. We want to get a consistent sound, so activate the Reset button in the LFO 1 panel. Now every time you play a note, the laser will start from the same pitch. Check out Rave Laser.mp3 to hear the sound in action.
6. You can set the tempo of the laser manually using LFO 1’s Rate knob and modulate this parameter to get some really mental effects. You can also sync it to your DAW’s project tempo by activating the Sync button in the LFO 1 panel. Now the Rate knob controls the resolution of the tempo, which makes getting it in time with your beats a piece of cake.

Step by step: Wide saw pads

Getting good stereo width is an important element in making tracks sound polished and professional

1. Getting good stereo width is an important element in making tracks sound polished and professional. Here’s how to make a pad with tons of stereo width that will sound great in your breakdowns. Start by loading SynthMaster CM in your DAW. Right-click the leftmost sine was in the Oscillator 1 panel, and select Basic>>Sawtooth.
2. As easily as that, we’ve already got a useful sawtooth-based polysynth sound, but it’s resolutely mono. Let’s get that stereo width in there. First, we want to use as many voices as possible – click the Voices parameter in the Oscillator 1 panel, and select 4.
3. Using more voices boosts the synth’s output, and now when you play the patch back it’s going to clip the master buss. To remedy this, turn the Volume knob in the Architecture panel down to +42. Now you can play chords without clipping, but the sound is still mono.
4. Back in the Oscillator 1 panel, turn the Pan knob all the way up. Instantly this gives us a super-wide stereo sound, which not only sounds impressive but also leaves room in the middle of the mix for mono sounds such as kick drums and sub-bass.
5. Currently, the Detune parameter below the Pan is set to +64. Turn this down to +8 and play a chord. You’ll hear a phasing effect at the start of the sound. This is because all the voices are restarting with each new note. Click the Free button above the Voices parameter to activate free-running mode.
6. This gives the sound quite a different feel – each new chord sounds smoother rather than punchy, which is the effect we’re after. Turn the Detune knob up to +40. Have a listen to Smooth Saw Pad.mp3 to hear how this sounds. For an even richer sound, set Oscillator 2 up the same as Oscillator 1, but with its Pitch set to +7 Semitones.

Step by step: 8-bit mono arps

You’ll see the Arpeggiator panel at the bottom of the interface