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by. Related Subreddits: Gear and Software:. Music and Synthesis:. Related Sites: Discord/IRC: Reference:. Instructions and Manuals:. You can pretty much get any sound on most mono synths.
Banger-sounds are just a hell of a lot easier to make. Supersaw, a little filtering, LFO and you're done.
Thats why you probably hear a lot more of that. Truth is you can do all kinds of weird dark shit on any mono-synth. I really like the micro brute because it can do exactly what you're talking about, but then I can also totally get synthpop-y detuned leads out of it (if you fuck around with the LFO you can get it to sound like two detuned oscillators).
The brute is really cheap too now. The synth doesn't define the music that it makes, you do. The synth doesn't define the music that it makes, you do.
#Inspired I have an MEK, and it seems when I lower the transpose to get that lower tone and darker leads, I lose some functionality because some keys seem too low and it's almost inaudible or downright unbearable. Is there any tutorials that can give me an in depth tutorial on how a synth operates and what everything does exactly? I haven't found any good ones and I feel as if I'm not using what I have to its fullest potential. Also, thanks for the quick and helpful comment!
#Inspired Please don't do that. I have an MEK.
Set the resonance to zero. You might want to turn the cut-off down as well, but you don't want it all the way down and depending on what you do with it next you might be able to crank it up as well. Apply the envelope settings as desired. Run it through a distortion or overdrive effect, or (if you're careful) a fuzz. Apply the effect settings until you get the sound you're after, but try not to go overboard, and try to remember that 'darker leads' have as much to do with the actual notation as it does with the general tone. To add to this, it's really just about exploring your synth and learning what does what. The MEK is a really incredible synth and there's definitely loads of dark and murky sounds to be wrung from it.
I'm all about these kinds of sounds and here's what I love: Subtle pitch modulation on the oscillators from a slow sine or triangle lfo, even better if you use a separate lfo for each oscillator. Realllllly slow sine/tri lfo set to modulate the cutoff subtly. Using filter key tracking set to negative so the filter opens up the lower you play can avoid losing really low notes. Using slow attack settings on the amp and filter with a sharp decay and no sustain so the note builds and then is cut back sharply can sound incredible with reverb a delay. Pretty much all my 'lead' lines have a long attack as I also hate that cheesy pop synth lead sound. Negative filter key tracking also works wonders here as well with a low pass Set a square wave lfo to modulate the pitch of one the oscillators so it jumps up and octave and back with a fairly high rate.
Then tune the other oscs to a minor 3rd, 5th and octave above the modulated osc. Then modulate the frequency of the first lfo with a second lfo with a saw shape and a slower rate so the frequency of the octave modulation increases with the attack of the note. There's just a few ideas, and remember, keep the resonance fairly low an avoid positive filter key track (so it doesn't key brighter as you play higher).
Ha, sorry, I went into geek mode there for a second. Check out the Sound on Sound synth secrets articles in the sidebar, they are incredibly informative, if not a little dry at times. Pretty much all subtractive synths have the same architecture (oscillators, filter, envelopes, lfo) so most of the tutorials on YouTube will be applicable to your synth. Once you've learnt the basics of what does what to whom then you can dig into the manual for your synth and my comments will hopefully make more sense. 'Dark' is a bit vague and subjective. When you say that I wonder if you mean nasty, aggressive, discordant tones?
Or muffled, warm, soft tones? And I bet other folks will interpret it differently. Warm, soft, tones you should be able to get from any synth, mono or poly, that can do subtractive synthesis, specifically if there's a resonant low pass filter you can use. Aggressive, discordant stuff, I find, is best achieved through modulation - I chuck LFOs and ring modulation around to nasty up my sounds.
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The nastiest stuff I achieve is with my modular system, rather than the synths I have. But then again, I'm more inclined to push and explore with the modular than I am with my synths.
As for the downvoting, there's been an ugly snobbery around here recently and it tends to rear it's head in the form of downvoting innocent questions from less experienced posters. Sorry about that. I'm hoping it changes soon because we could all do with some education at times and scaring folks off only shrinks our knowledge base. 'Dark' is a bit vague and subjective. When you say that I wonder if you mean nasty, aggressive, discordant tones?
Or muffled, warm, soft tones? Both, really; but I like the nasty and aggressive just a bit more! I just want to get away from the synth-pop sound. If it helps you understand more, I love Nine Inch Nails and basically drool over the sounds found in the Downward Spiral and Fragile albums; but would also like the nastiness from the Broken album, too.
As for the downvoting, there's been an ugly snobbery around here recently I've noticed. I hope it goes away, too. Absolutely unnecessary.