Hi. After a while, I’m back with a new tutorial. This post’s concept is really simple: A basic field recording, minimally edited with CDP, chopped up, and processed live inside Redux. But even such a modest setup can yield a lot of cool sounds, just by using fundamental processing techniques. We’ll see how.
Hello. I haven’t been able to post much on my blog lately, mainly for 2 reasons: Holiday and a collaboration project with KV331 Audio on their great instrument SynthMaster. SynthMaster is a versatile hybrid softsynth, capable of subtractive, FM, additive, wavetable synthesis and much more.
Now I’m more of a sampling person for sure but I’ve made an exception for SynthMaster as it’s a cool synth that makes sense to me, especially in terms of workflow. It has it’s quirks like anything else but I must admit it really growed on me over time.
So I’ve made 50 brand new patches for their 2.7 release which brings great new features to the table; highlights being new oscillator algorithms (bend, sync, etc.) and optimized & updated filters. These new sounds are mainly Drum & Bass oriented and will be included in the factory content when the new version rolls out, which I believe to be 3rd of August. So check out my demo below, and if you wanna give SM 2.7 trial a go, here’s the link.
See you around.
Hi. This week, we’ll be doing more bass stuff. I posted my last tutorial on Renoise & DOA forums and it’s gotten some real nice responses which made me a happy monkey! Thanks folks! The routing paradigm of Renoise/Redux also raised some questions and caused a bit of confusion for some of the newcomers. I’ll admit it can indeed get messy sometimes and I’d much rather have a signal routing system like Reaper or Ableton. But at the end of the day every software has it’s ups & down. The creative workflow of Renoise is unparalleled for me so I can live with it’s quirks just fine.
Here’s this week’s scenario: A fellow Redux user experiments with the techniques demonstrated in my last post and comes up with some sounds. He also has a few problems understanding the signal flow so he slightly misses the spot for some of the routings. I try to help him out a bit and once I’m done I realize I’ve got pretty good content for a new blog post. So there we go.
Hello. As you may have heard, Renoise team recently released the Redux sampler. I’m really fond of this great instrument (that I even made a small post about it) so I’ve decided to change my blog post format a little to keep things Redux compatible as much as possible. With Redux being a VST instrument, that will ensure that I reach a greater amount of people and hopefully have more helpful content. This little change resulted in a much longer post than my usual but I hope it translates well to anyone who takes time to read it. To keep up with this tutorial, you need Redux of course (or Renoise, once it’s updated). Camel Crusher, a great freebie distortion/saturation unit, is optional.
Hello. For the last couple of sound design posts I’ve been focusing away from CDP a bit and featuring other great Renoise tools, Morphsynth & Offline Filter. So keeping up with that trend, I figured this week would be a good time to introduce another fantastic Renoise instrument, Padsynth. (Check out the forum thread to update it for R3.) Padsynth is an additive sound generator that’s capable of making pad-like sustained sounds which flow smoothly. The sounds you can generate out of it work great in Renoise instruments where you can apply volume envelopes, filters and so forth.
Hello. Recently, CDP tool’s creator afta8 posted a brand new tool: Offline Filter. It’s a niffty little tool that offers 4 different filter types, built-in cutoff envelope controls and 2 great sounding distortions. It works offline which means a different (and cool) workflow for mangling sounds. As in working with CDP. Definitely give it a try if you’re a Renoise user. And thanks afta8 for another smasher!