This track explores the “Neo-Grime” genre.
Synthesis process evidence
Textural Pad:
Using Serum, I began with a sine wave on oscillator A as a harmonically smooth foundation for the patch, adding 8 unison voices for “width/thickness”, and decreasing the detuning of the voices for slight harmonic variation while still maintaining being firmly on pitch. On oscillator B I used a more harmonically rich saw-like “trench” wave to texture the patch, again using unison voices (4 this time) for thickness. This is also pitched up 5 semitones for a perfect 4th harmony. I adjusted both the fixed and random phase parameters to adjust the sound created by the initial wave, as well as to add variation to every note played. As well as this, I used some frequency modulation from oscillator A to further manipulate the texture of the wave. Finally on oscillator B I lowered the level slightly to sit more subtly in combination with oscillator A. For envelope A, controlling the overall amplifier output of the synth I increased the attack to 373ms for a longer “bowed” effect, and increased the release to 1.4s for a smooth transition between notes without sudden decrease in level when notes end. Envelope 2 is assigned to the cutoff frequency of a low pass filter affecting both oscillators, with a decently fast sweep up from 27hz when the note is played, a slight movement back down the frequency scale while it is still sounding due to the 1.73s decay, and then a more severe slow movement back down when the note is released due to the 3.11s release. There is also a slight resonance increase on the filter for added presence to the moving cutoff frequency.
Bell Pluck:
To create this pluck I used one oscillator, with a complex and harmonically detailed “monster” wave, with 100% random phase for variation with each note. Envelope A controls both the amplifier output of the synth, with a 0ms attack and hold as well as no sustain, with a 489ms decay and 470ms release to create the “pluck” sound as well as resonate slightly to give the synth the characteristic of a bell. As well as this, envelope A controls the wavetable position of the single oscillator, modulating it from a pure sine wave shape to the more harmonically rich character of the “monster” wave. A low pass filter is also used to reduce all harmonics above 120hz, smoothing out the overall texture of the patch, with the filter resonance at 27% for a slight boost at the cut off frequency as well as slight reduction for any lower frequencies. For effects on this patch, I used hyper/dimension- micro-delay/chorus and pseudo stereo effects to subtly dial in some perceived width to the sound, a multi-band compressor to emphasise the mid-range frequencies of the patch and a high pass filter to remove any low/muddy frequencies for a lighter sound to the pluck.
Staccato Detuned Strings:
This patch uses a similar oscillator setup as the Textural Pad, with a sine wave on oscillator A and the “trench” wave on oscillator B, both using the same amount of unison voices to create the effect of multiple synthesised string instruments. This time however there is no frequency modulation to oscillator B from A, and unison blend as well as levels have been adjusted to hold more focus on oscillator B as the harsher, more harmonically rich element of the patch. Envelope 1, controlling the amplifier has a faster attack this time at 182ms, with a shorter release at 170ms also to give the short notes played by the synth the staccato effect. A band pass filter with a slightly increased resonance affecting both oscillators is used to focus majorly on the mid range of frequencies, trimming off the low and highs. Similar settings on hyper/dimension and a multiband compressor to the textural pad are used again to create a sense of width, and further enhance level and focus of mid to upper-mid frequencies.
Reese Bass:
This patch aims to create a version of the renowned “Reese Bass”, using saw waves on both oscillators, oscillator A having 7 unison voices and oscillator B having 3, with the blend parameter adjusted on both to retain the “size” of the unison voices added, while having the main voice hold just about the most presence. Both oscillators are tuned down 2 octaves to hit the bass frequency area, with oscillator B being fine tuned 38 cents above oscillator A to create the recognisable detuned sound of the bass. Envelope A controls the amplifier of the synth, with a 171ms attack as I wished for the bass to have a smoother beginning to each note rather than a punch (provided more so by the kick drum). Sustain is at maximum to hold the notes for their full duration, with a subtle decay and release for smoother transition between notes. A high pass filter with a notch is used, affecting both oscillators to tail off the lowest, often inaudible frequencies (due to speaker capability) with the resonance increased for a boost at the fundamental bass frequencies. Low frequency oscillator 1 controls the frequency targeted by the notch filter in a triangle shape spanning 2 bars to give the patch the movement often heard in Reese Basses. There is also an 143ms portamento on the patch for a smooth sliding effect between notes. For effects, a slow and subtle phaser is used to give the patch even more movement and contribute more to the detuned character, and another EQ is used to tail off some of the upper-mid to high harmonics still present, as well as slightly boosting some of the lower-mid area to give the bass a more complex and detailed shape.
Witch House Style Lead:
To create this lead, 2 oscillators are used, oscillator A using a slightly deformed square wave, while oscillator B uses a triangle wave. Both oscillators play 10 unison voices each, with the blend parameters adjusted to achieve a wide, almost siren-like sound. Envelope 1, controlling the amplifier of the synth, has a 0ms attack for a quick and abrasive punch, with a 181ms release utilised for a smoother transition between notes. Envelope 2 is assigned to the cutoff of a low pass filter affecting both oscillators, with a 26ms attack opening up the filter with every note played, almost mimicking the start-up of a siren sound. Effects wise, Hyper/Dimension is used generously with 7 additional quite detuned unisons at about 50% wet sound, and strong amount of added width to give the lead the effect of having many more, wider voices. A multiband compressor is then used to boost some of the higher and mid range frequencies, while taming the lower- in combination with a subtle high pass filter, allowing the synth to cut through the mix.
Trance Lead 1:
This patch aims to create a classic trance lead sound, using two saw-type oscillators with 16 unison voices each, with adjusted blends to mix the main voices with the unison voices to achieve the “supersaw” sound. LFOs 1 and 2 are assigned respectively to the two oscillator’s phase parameters in a low triangle shape, spanning 1 bar and 2 bars to achieve some subtle movement within the patch. LFO 3 however is assigned to the cutoff frequency of an intense low pass filter, in a steep upwards slope shape spanning 2 bars to create build up with the opening of the filter (Anchor function is enabled on all LFOs to ensure consistent phase). This works in combination with envelope 2, which is also assigned to the cutoff frequency in a pluck shape, so as the 2 bar span progresses, envelope 2 increases the cutoff frequency by less, an effect heard commonly throughout trance music. Envelope controls the amplifier, holding a similar pluck shape with a 0.5ms attack to avoid any “click” sound at the beginning of each note. For effects, a subtle chorus is used for additional “thickness” or shimmer”, as well as a quiet delay using both a 1/4 delay in the left channel and a dotted 1/8 delay in the right to create a polyrhythm, subtly making melodies more complex. Finally an EQ is used to slightly boost most of the mid-range frequencies for presence, and a boost at the highest frequencies for clarity as well as an analogue-emulating hiss.
Trance Lead 2:
This patch is exactly the same as above, but without the LFO 3 controlling the cutoff frequency, and instead the cutoff frequency stays higher up for a more consistent, “open” voicing.
