Synthesis process evidence
2 main elements of synthesis were used in this production.
The first element is a synth bass used in the break-down and the outro.
I designed the synth bass in Alchemy using 3 sawtooth oscillators to create a harmonically rich sound. I balanced their volumes and introduced slight tuning differences to thicken the tone. I then applied a 12dB/octave low-pass to gently remove excessive high-frequencies. I adjusted the cutoff and resonance, in order to create a tonal character which emphasised certain frequencies to fit the mix. The envelope consists of a fast attack to create immediate impact, a controlled decay, and a low sustain level to keep the bass tight and rhythmic. Additionally, I added tube drive within the filter section to add harmonic distortion and warmth, increasing presence.
The second element is a pad which runs at points throughout the song
I used Retro Synth in Analog mode and layered a sawtooth and square wave shapes, blending them to create a fuller timbre. I selected wave shapes with harmonic content suitable for filtering and used a 24dB low-pass filter to soften the high frequencies and produce a warmer tone. The filter cutoff was set moderately low, and I shaped its movement using the filter envelope, with a short attack and longer decay to create a gentle opening effect at the start of each note. The amplitude envelope was adjusted with a smooth attack and moderate sustain to allow the pad to feel sustained and less percussive. I used LFO modulation to add subtle movement, preventing the sound from feeling static. I applied chorus to widen the stereo image and enhance depth. A flanger was also added at points to create further movement in the stereo image and maintain listener interest.
Both of these processes are examples of subtractive synthesis
