This is one of those cases where it'll all be impossible to identify the synth unless the artist used a preset (or a tweaked version of it) and someone is familiar with that preset and thus can identify the synth.
It's an interesting sound. To me it has hints of wavetable synthesis but that's a tenuous association - it could be from any number of sound engines.
I've got a reasonably good recollection for presets I've heard before but this isn't one I recognise. It would be an interesting exercise to recreate it but I've always preferred the idea of coming up with my own unique sounds.
Whoever made this one did a good job and Pulse One made good use of it
One-repeat delay
Plenty of reverb
Distinctive upward pitchbend in this patch, at the beginning of the notes
High-pass filter opened up during the course of the intro
Abrasive quality...sawtooth...?
Touch of chorus?
Attack is fast but not percussive fast
There's some harmonic content that helps define it. Eg the first note is Eb but there's some Ab in there. I reckon each note has a taste of a note that's 7 semitones below.
Hi there Kollegah. Given their name could it be Walford Pulse mk1. Similar how 808 State named themselves. Really liking the heevee Kick in this piece as the Kick doesn't hurt my ears.
Listening once more to the stunning Kick I dig this heeeveee Kick that's not hard not piercing, just thrilling for me to listen to.
The mix has for me the issue where the other parts of the piece gets shunted kinda overwhelmed when a heeeveee Kick enters.
This is reason I reckon there's no Kick on lush Pads at 1min27sec and 3min07sec as otherwise the heeeveee Kick would overwhelm the lush pads.
On a couple of my edm pieces I've mixed heeeveee stacked Kicks to happily coexist with the lead, with pads, without shunting them without overwhelming them.
Thank you guys for so many quick responses to my questions.
At least i know now the synth sound is Waldorf Pulse Mk1 hardware.
Seems like there is no good VST of that piece of hardware, and i am using digital studio only lately, and have sold so much of my hardware equipment
I would appreciate any suggestions of vst / synth, where i can come as close as possible to this sounding.
tea for two wrote: ↑Tue Jun 04, 2024 7:10 pm
Listening once more to the stunning Kick I dig this heeeveee Kick that's not hard not piercing, just thrilling for me to listen to.
The mix has for me the issue where the other parts of the piece gets shunted kinda overwhelmed when a heeeveee Kick enters.
This is reason I reckon there's no Kick on lush Pads at 1min27sec and 3min07sec as otherwise the heeeveee Kick would overwhelm the lush pads.
On a couple of my edm pieces I've mixed heeeveee stacked Kicks to happily coexist with the lead, with pads, without shunting them without overwhelming them.
I think the the kickless parts are not here because the kicks would overwhelm the lush pads, but for the contrast betweend the heavyness and the harmonic beauty - which this artist uses. A good example is track Numbers. https://www.youtube.com/watch?v=XdojMjj ... w&index=13
So i dont think there was a technical difficulty to mix pads with kicks, but the need for the contrast between melody and chaos
tea for two wrote: ↑Tue Jun 04, 2024 7:10 pm
Listening once more to the stunning Kick I dig this heeeveee Kick that's not hard not piercing, just thrilling for me to listen to.
The mix has for me the issue where the other parts of the piece gets shunted kinda overwhelmed when a heeeveee Kick enters.
This is reason I reckon there's no Kick on lush Pads at 1min27sec and 3min07sec as otherwise the heeeveee Kick would overwhelm the lush pads.
On a couple of my edm pieces I've mixed heeeveee stacked Kicks to happily coexist with the lead, with pads, without shunting them without overwhelming them.
I think the the kickless parts are not here because the kicks would overwhelm the lush pads, but for the contrast betweend the heavyness and the harmonic beauty - which this artist uses. A good example is track Numbers. https://www.youtube.com/watch?v=XdojMjj ... w&index=13
So i dont think there was a technical difficulty to mix pads with kicks, but the need for the contrast between melody and chaos
The Kick on Numbers is lighter thinner although more punchy, it's easier to mix.
The gorgeous Kick (or layered stacked electronic Toms) on Origins is heeeveee deep not as easy to mix, it already overwhelms a little the other parts of piece, it would overwhelm more the lush pads.
Still it works really well as a focal point. I can listen to this gorgeous Kick on repeat. I can't listen to some Kicks on some big name EDM bands artists.
I'd say there's two tonal parts tuned a fifth apart though not at equal amplitude, but the basic timbre is either FM generated or a wave table, I do not think you could get this sound with a pure subtractive synth. Then the initial envelope is quite short for the almost bell like attack with a longer sustain, and the whole thing fed through a very long reverb like the cloud reverb on my hydrasynth (which, I'd say, probably could replicate this patch with a bit of work).
ajay_m wrote: ↑Wed Jun 05, 2024 8:44 pm
I'd say there's two tonal parts tuned a fifth apart though not at equal amplitude, but the basic timbre is either FM generated or a wave table, I do not think you could get this sound with a pure subtractive synth. Then the initial envelope is quite short for the almost bell like attack with a longer sustain, and the whole thing fed through a very long reverb like the cloud reverb on my hydrasynth (which, I'd say, probably could replicate this patch with a bit of work).
i would be so happy to see if you can replicate it, if not 100% than at least as close as possible XD
Ok, well I can certainly get in the ballpark with the Hydrasynth, but as I'm sure you know, exactly replicating a patch can be quite challenging. However, timbrally this seems in the right place.
Because I can't attach anything here and you may be working with another synth, I'll give you the recipe here and that ought to translate to various synths.
I did not add filtering or velocity sensitivity so this is not too complex.
We start with the envelope which has an attack of 0, decay 256ms, sustain level 16 and a fairly steep exponential decay (the Hydrasynth has a lot of control here) [It's EXP(45) on the display, for reference]
OSC1 is Spect X1, a waveform consisting of two sine pulses per cycle, there's a web site showing the spectra of each Hydrasynth waveform, this gives the high-end 'zing' part of the sound.
OSC2 is a sawtooth and OSC3 is Horizon8, which has a little bit of top end but a full body.
Tuning is -9,-7,0 semitones respectively for OSC1-3
Mix level is 88,128,128 (128 is max) for the OSCs
Then we use the ring modulator, modulating red noise with OSC3 and a ring mod depth of 32. The ring mod level in the mixer is 117. This adds that 'grainy' character to the sound.
I did put a PhazDiff mutant on OSC1 with wet 100% depth 84 feedback 144. This isn't vital but adds life to the sound - it's a unique effect, very hard to describe and unique to the Hydrasynth
Then just fed everything through chorus and a fairly long reverb mixed quite wet (75%) and set to 5 second using the "Room" algorithm.
Now there is a bit of a 'thump' missing from this patch, I could of course use the second engine in the HS to add this, as I have a further 3 oscillators etc, but I felt I was getting close enough to prove the point.
