7
There's really no such thing as MIDI Synthesis.
Synthesis is the process by which sounds are 'synthesised' using various modulation and generation techniques.
MIDI is the "Musical Instrument Digital Interface" and is a protocol by which electronic music instruments can pass control and note information.
MIDI is only interested in sending and receiving ...
6
Your sine has come out a couple of octaves too low, for some reason. Indeed it's infrasound, 6.6 Hz to be precise, which rather explains why you don't hear anything.
A couple of ways you could have found this out:
Actually the sound is still "audible": over a decent subwoofer, you'll hear (or rather feel) a throbbing similar to a ship engine, and things in ...
4
Beating will always be there whenever there are two or more signals close in frequency but there are a few things that may help, depending on the synthesizer. All options will make it sound different but that is a trade off you can't really get away from... The reason these sounds stick out is actually because of the beating.
More unison voices. The more ...
4
First, you should have some field recordings to use as a reference, at least. Depending on the verisimilitude you are looking for, you might need to really hone in on the exact type of forest that is going to appear on screen. For example, a tropical rain forest is very different from a northern coniferous forest.
If you take the wildlife out of the sounds ...
4
The way to understand this is to break down the terminology. First one to look at is "Modulation" which is the term used to describe the encoding of a "carrier" signal with another "source" signal.
In the case of "amplitude modulation", the "amplitude" of a carrier wave is "modulated" with a source signal in a transmitting circuit. The "receiving" circuit ...
3
This seems like an awful lot of work, and I think you would get better results from recording foley. However, I understand that want to try exploring another avenue within synthesis.
As has already been mentioned, Andy Farnell's Designing Sound is the best resource for this kind of sound design, and all of that is done within PD. If you want to get away ...
3
VST synths are not designed for this sort of thing, hence why Andy Farnell (I presume those are the tutorials you encountered) used PD.
Designing Sound is THE book for this, but I'm really questioning why you are planning to take this route when designing the sounds for a whole game; it's very interesting to discuss/consider procedural audio tech and its ...
3
Ableton Live's M4L granular ensembles
MOTU MachFive has a granular module too
iZotope Iris, if you can stand the interface
For all three, press Record and start exploring.
Also, it's always a good time to challenge preconceptions of what "computer/tech sound" is.
3
Not sure what you mean here by 'feeds into'? Beyond summing audio together there's convolution, or using one source to modulate another like FM or AM. You could check out Soundhack for convolution which can work with any sounds.
3
Self-oscilation only works for analogue gear (because of the noise flow and constant active OSCs). Digital plug-ins can't self oscillate. But some programmers made algorithms that "imitate" self-oscillation to a certain degree. In NI Massive you can "imitate" self-osculation if you feed a bit to noise from the noise generator into the filter with a cranked ...
3
Some possibilities…
Some of these are old old tricks & may not be necessary with modern equipment & space to sample huge numbers of layers/velocities
Randomisation - of anything, so long as it's subtle
Velocity to pitch - louder is higher [very slight, of course]
velocity to filter - was always an old favourite, but we have more chance to have ...
3
All I know is it seems to be a reference to french house, the "french touch," which is a filtered-disco sound. Expect a prominent, musical filter, but I am not an expert on filter design so I can't separate out the marketing angle from the reality of what you will get. Examples of the kind of music being referenced:
http://thesearepowerfulhours.com/...
3
Although it is a drone or single harmony, the timbre here is rich, and the depth comes from the range of harmonics. Further depth here seems to come from the tones of D5 chord (D + A). Drones like this are not often a single note, but quite an array of harmonics - which lends itself to the experimentation of blending fundamentally different notes for a rich ...
3
I would recommend using square and saw waves detuned with some unison. I recommend you start with massive but serum is better if you have it. Modulate the wavetables in bend+/- or bend plus or bend - if you don't know what this is, read the manual or google it. This will add movement I recommend to synch this modulation. Add an extra oscillator to taste for ...
3
Try 2 sawtooth oscillators on a mono synth with a small detune (perhaps just 1 cent) on one of the oscillators. Set a smooth but fairly quick attack and release for these oscillators. Send them through a low Pass filter around 3kHz or whatever sounds right, a slight envelope on the filter can sound good too. Also, set a portamento/glide of roughly 35ms. The ...
3
Actually, you can.
If you use the Pitch Envelope, you can set it to loop (or use one of the "Loop" presets). Turn off Pitch Envelope modulation for all the ops except the one you want to modulate. Set depth using the Amplitude knob on the pitch page.
3
The first thing that comes to mind is a tool like Matlab (from the Matthworks). You can download a free trial, but you would have to learn some prograsmming (or Matlabs language). But I believe it can create a .wav or .aiff file from a function that synthesizes a waveform or a complex signal.
3
The effect of changing the phase of a harmonic, might simply equate to (acoustically) that particular harmonic coming (to the ears) from a slightly different distance than the fundamental. Thinking about it like this, I would have to say that the probability of it 'changing' the sound is quite limited.
You are more likely to get a change in timbre of the ...
2
There are several factors here, and not all may apply to your situation.
ReBirth is a really good simulation of 808s, 909s, and 303s, but they are a simulation of ideal versions of them. Your hardware setup is going to invariably differ to some degree. You do state that when you match the settings in ReBirth with your hardware, it sounds "good". This would ...
2
Textual languages are less popular these days as graphical audio programming environments (such as Max or Pd) are more approachable. Nonetheless a couple that you may like to look at are Csound (The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing and Programming, Richard Boulanger), which is a C based language so if you have ...
2
S-Layer (and Reaktor)
(http://twistedtools.com/shop/reaktor/s-layer/)
Metaphysical Function, Skanner (also for Reaktor)
GRM Tools
SoundMagic Spectral
Metasynth
Camel Audio Alchemy ("the best sampler there is")
Perhaps even NI FM8 or Sytrus.
Too many ways to approach "computer sounds".
2
Do you let it play note on repeat when designing sound? I push the keyboard myself and I found that much better than let it loop the note and sculpting your sound.
I often can't resist to go wild with the keyboard too, which is fun and often rewards me with desirable sound.
2
Unfortunately it is tough to generate a good sounding distorted guitar using only digital means. Although as sampling gets better this is slowly getting better as well.
Your idea of sampling a clean guitar sound and then routing it though a distortion unit and back into your DAW would be the route I would take assuming you cant get your hands on a real ...
2
I think you need to look into the basics of audio synthesis a little bit more before trying this. Any instrument except a pure sine oscillator will not produce a pure sine wave. Instead it will produce a unique wave that will look sort of like a sine wave, but with constantly varying amplitude and pitch. This is what creates the "tone" of an instrument and ...
2
Synths can be great for this stuff, although depending on which program is used, I have at times had difficulty getting the sound to not feel "synthy". I think I mentioned this in a thread a while back, but I'm a pretty big fan of taking other recorded sounds and processing them with different plugins like GRM and Sound Toys to get the results I want. Often ...
2
There's of course plenty of ways to do that. The easiest way on Windows would certainly be to load both a SoundFont synth and an amp-simulator plugin into a DAW, but I suppose that's not the solution you want.
If you'd like to keep it down to a single executable and, as I suspect, you're more interested seeing in how intonation influences distortion-...
2
Soundhack Binaural+ might be the easiest way at $75. I've not used the plugin, but have used the Max version which is free (but you need Max, of course).
Most binaural plugins don't actually simulate distance because of the way the HRTF measurements are taken. You could use reverb and EQ automation for that, but this may affect how convincing the ...
2
If you have experience with programming, there are some specialized libraries, such as OpenAL, which are designed to provide spatial audio for use in applications such as video games. This will allow you to automate movement, distance and even materials in the room you are trying to simulate, effectively giving you the ability to create the exact virtual ...
2
I usually randomize velocity itself a tad bit. The sampler does it's work. Apart from sample start which can be a pretty dramatic effect, filter, pitch, pitch of a doubled voice, verb send level, and volume itself can be randomized if the velocity is not helping. You can figure out the mechanics to attaching some sort of randomization to these things. ...
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