The Audio Resource & Sound Design Clinic

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Started by Ms Littlefish 77 posts Page 4 of 4 View original ↗
  1. You'd be surprised how far some people will go for a sh/t post.

    105Cowbell.jpg

    @Iron_Brew was basically daring me to write a 100% cowbell song. (sorry I didn't get that last 5%)

    [embedded media]

    Yes, literally everything (other than the vocal sample) is cowbell.
    • The kick: Way pitched down cowbell (and some transient processing)
    • The Snare: Layered cowbells (and some transient processing)
    • The bass line: Cowbells through a distortion unit.
    • The lead: Of course! Cowbells!
    Vocals by 2nick8 "The World Is On Fire"

    (for what it's worth, this song was also thrown together in about 5 hours. There's a few rough transitions here or there, but honestly...I achieved what I wanted: an all cowbell song.)
  2. @TheAM-Dol I'm sooooo ready for this club! :wub
  3. Has no business being this hard of a banger. I feel like I should be dumping my coffee out and sipping on a vodka cranberry. @TheAM-Dol
  4. Why is it so good.
  5. Iron_Brew said:
    Why is it so good.
    youre not supposed to admit it!
    How else are we going to push him to discover what the last 5% is if you dont go full tsundere about it?
  6. league-of-legends-league-of-legends-alistar.gif
    This is actually fire :oops:
  7. Oh, I can't believe I forgot to mention this.
    While there is no O or W note to make COW, there is AF for a CAF.
    The leads have been tuned deliberately to C, A, and F
    (though if we're being pedantic, I think the melody is like A, CCC, F, A.....)
    This is just relevant because my cowbells were tuned closer to sharps (and a few cents). I could have just tuned the cowbell to the nearest sharp, but I decided I needed CAF.
  8. I had not realized until listening that immersion in cowbells is actually a primary (primal?) need. This is wonderful!
  9. So I've been doing a lot of playtesting in my own game, but sometimes I just want to make some phat bassy music. So as a palette cleanser from all the game make, I would occasionally pop into Reaper and work on this one.


    Just like the Cowbell song I did last time, I just looked up some royalty free acapella I could sample for the song, so I didn't work with Mr. Rapper directly.
    You can hear the acapella here

    The original track he had shared seemed to be an incomplete track he didn't know what to do with. So it didn't have a lot of lyrics to work with. And to further that point, the majority of the verse was rapped in this triplet rhythm...which, one, is just such a tired flow man, but also it just didn't work for this song at all. He had a couple of short bursts of this fast 16ths rap which he kills it on. I wish he did more, but it was basically only 9 bars worth of this rhythm...so I had to get creative.

    You'll notice on the second phrase of the verse some of the vocals become incomprehensible and that's because I just used a audio buffer shuffler to shuffle his voice into alien speak to make it not quite so obvious I am just copy-pasting the same lyrics :LZSlol:

    Also, can you say 'side chain'?
    I'm pretty sure the kick has been routed to if not all of the tracks, most of them.

    Anyways, I think if I can come up with one more jam like this and the cowbell song I might just release a small EP of my vocal sample songs.

    p.s.
    been listening to a lot of Fatboy Slim lately. Can you hear the Retox influence in this song?
  10. I like that you described how you started with the track and also explained what you did for the different parts during production.

    Although this genre of music is not exactly my cup of tea but the track you did is well produced.
  11. Dunkirk said:
    I like that you described how you started with the track and also explained what you did for the different parts during production.

    Although this genre of music is not exactly my cup of tea but the track you did is well produced.
    I always know I can count on Dunkirk.

    Oh I totally forgot how I even got to the place of making this song in the first place.

    I was watching a streamer who joked about making an AI use a microwave as their text to speech voice. I was wondering if I could do it with some EQ-side-chain manipulation by routing a speaking voice to a microwave. It...didn't work as well as I had imagined in my head.
    But I started f/cking around with my little side chain link I had created and somehow wound up with a full song.

    Uh...seeing as how I am the cowbell song guy, I guess I should clarify that the end result did not use the microwave sound. Though my EQ-side-chaining thing did create kind of a cool synthy sound, I ended up not using it - all this is pretty standard synth stuff.

    So uh...microwave song next?
  12. TheAM-Dol said:
    So uh...microwave song next?

    I said I was going to do it, and so I did it.

    This song uses a microwave sample provided by DigitalDials (sorry, I didn't record my own microwave because it's not as musical). links to all the samples will be below
    Obviously the microwave button beeps are from the microwave, but it might be hard to tell that the wub-wub lead is also the microwave. Technically it's the fan in the microwave while it is running.

    The song also uses lots of samples from different TV ads and other pop culture.
    I just had a lot of fun with this. The microwave is completely playable too. I used a sampler instrument and loaded the microwave sample into it/tuned the sample which allows me to use my keyboard to play the microwave. (believe it or not, that's not what I did for the cowbell song, instead I manually tuned individual samples)
    Another fun fact is that, normally in my own music I do a ton of layering. Layers for days. But actually, this song is basically: the vocal samples, the microWAV and the Microbeeps, and then 3 drum tracks. Pretty simple!

    Well, you know what else I said?
    TheAM-Dol said:
    I think if I can come up with one more jam like this and the cowbell song I might just release a small EP
    Yeah that too.
    It's 100% free!

    This EP includes the cowbell song, Bak Trak, and of course this song, Fatboi.

    Here is the list (and links) to all of the samples I used for Fatboi:
    SAMPLES
    microwave by DigitalDials

    Fatboy Slim "Right Here, Right Now)

    Swanson TV Turkey Dinners

    GE Microwave

    Chef Boyardee

    Family Guy

    Youtube Rewind 2018


    Now I'll let this thread go back to being about game related audio stuff. Sorry for hijacking it :LZSlol:
  13. Don’t mind me being 8 years late to everything. I’m finally listening to the microwave song. @TheAM-Dol So…the hijack lives on at least for now.

    OK. So. This is unhinged in the best way. OMG. LMFAO. I’m not even joking I am putting this on my workout playlist.

    I definitely noticed there is a lot more simplification in your layering here, but I think it really works with how noisy some of the patches are. I think they need the room to breathe and then it’s instant dynamics when they come in and out.
  14. Hey! I'm back with game music!



    If you didn't see, I recently posted a game for our Spooky Month game jam.
    And as with any new song, I just want to do an unnecessarily long write up about the process, so grab a coffee and maybe a snack, and allow me to indulge myself for a bit.

    In the beginning:

    I actually didn't want to write an original song for the game jam, assuming I just wouldn't have enough time, as often I tend to hit brick walls (foreshadowing) that slow down my writing process often taking a month or more at times to finish a song.
    However, I had this particular “mysterious” arpeggio circling in my head, and I wondered what I could do with it.
    So…I decided I'd give a try.

    Theming the song:
    I already knew what I wanted the game jam to be about. I knew it was going to be a “delve into my mind”, so I wanted to make something that captured the turbulence of emotions that might be swirling within someone's head.

    I wanted to create something that felt unsettling, but not through dissonance and creepy-crawly ways, but unsettling in how manic it felt. The main chords the arpeggio wanders through move from tense to peaceful repetitively throughout the song, all while maintaining a mysterious air to them.

    The song structure itself further explores this “manic expression”. The song never settles on a main melody, and each exploring a different emotion, with a frustrated cello, a relaxing piano, and a sad violin.

    The Arrangement:
    There are other fun features to enhance this “psychological” theming I was going for as well.

    You may notice that the drums are rather peculiar too. This was done deliberately as I felt a standard drum kit didn't meet the strangeness the song was aiming for. The drums are an 8 inch diameter aluminum pot, hit with a drum stick in a variety of articulations. Though, a pot by itself wasn't particularly interesting. I wanted a little more rattle to it. After playing with a variety of loose objects in the pot, I never found a result I was happy with, especially because items in the pot limited how I could hold and hit the pot (like, if I hold it upside, obviously everything is going to fall out). I eventually found just clipping a couple of binder clips just added a small rattle. It was perfect!

    rattlePot-smolSize.jpg

    But the recording doesn't stop there!

    There are a variety of vocal samples I made as well, from whispers to facilitate the "in the head" mood, to hushes, and my most favorite..

    The scream.
    I really apologize to my neighbors for this one!

    It took quite a few attempts to get the “right sounding” scream. I wanted something that sounded like legitimate anger. Then, through the washed out reverb, it makes it so that it creeps in first as just noise before hauntingly the scream breaks through the noise. I absolutely loved this part.
    There is also a bassy rumble that goes along with the scream.
    Well…what do angry people do if not get a little physical? This bassy sound was actually me pounding on my desk. (Again, I'm really sorry neighbors, thank you for putting up with my noise. No wonder why you called the cops on me.)

    The Unfinished part:
    Yeah...so actually, I did wind up hitting that brick wall at the very end.
    But rather than give myself the time to let itself work out - which is usually the part of my process that can take a really long time - I just said "yeet" and called it done.
    Would anybody be able to tell if I hadn't mentioned this? Probably not, but I just wanted to explain the whole creative process here.




    Overall, I just think this is a really cool song.
    So what am I going to do with it? Game jam games are kind of 1-and-done, so it doesn't give this cool song a lot of life.

    Well, considering it doesn't really fit into my album music, nor does it fit into my main game project, I figured I will release it as an asset for the community to use in their own games.
    After the game jam ends, I'll post my own resource thread with this song included. I plan to make a few variations; without whispers, without all vocals, and without drums. I'll also include the special loop I made of the arpeggio that I used in the menu of my game jam game. Look forward to that when it gets released!
  15. This song totally disturbed me... And the fact that it's not a repetitive melody, with occasional changing tones, reinforces the feeling of tension. Very good work.

    And thanks for sharing the creative process, it was really interesting.
  16. Very cool sound design and development of the arrangement. Starting simple and then adding a contrary line of the arpeggio moving downwards while the original one moved upwards against it. Both arpeggios also pan independently and irregularly left to right, right to left which adds to the disturbing nature of it.

    nice pot
  17. It's been awhile since I shared anything and I feel like this thread needs a bump.

    Some folks might be aware that a few months back I made a huge investment in purchasing a legendary Roland JP-8080 synthesizer. The original JP8000 was used to basically define the trance era of electronic music in the mid 90s to early 2000s. The JP-8080 was a rack-mounted revision to the JP8000, using the same synthesis engine with a few new tweaks (and no crapacitors which the original JP8000s are plagued with)

    While I've made a handful of doodles using my JP-8080, I hadn't actually written any proper songs with it. Well, that time has finally come. I forced myself to just finish this song, and I want to talk about some of the sound design I did with it. So first, the song:

    *Note, the ending kind of cuts of suddenly. This is because I am planning an album and am using a long ending as a transition to the next song.

    DRIVING LEAD:
    Two features only available on the JP-8080 are the Feedback Oscillator and the digitial distortion FX. Both of these features were utilized for the main driving synth of the song.
    The Feedback Oscillator is a really unique oscillator that I haven't seen on other synths before. The manual for the JP-8080 goes into a lot of detail about every aspect of the synth, yet ironically, the most interesting newest addition to the JP-8080 is mostly left to a short blerb that says "This sound is similar to electric guitar feedback. It is suitable for creating hard and aggressive sounds that stand out." (directly quoted from the manual)
    Suitable for creating hard and aggressive sounds indeed.

    It has 2 functions: The harmonics and the resonance function. by tweaking these 2 functions it creates metallic distortions and harsh ringing to the sound. When coupled with the new digital distortion FX, it really enhances the harshness of the harmonics. Both the digital distortion and feedback oscillator were combined to create the main driving synth.
    I wanted the song to really take advantage of how tweaking the harmonic and resonance knobs can create interesting harmonic sweeps and distortions, so a lot of the song was planned around simple techno melodies that I can perform knob tweaking live to show off how the sound can change.

    DRUMS:
    In addition to simple techno melodies to perform around, I also wanted to primarily use only the JP-8080 for the entirety of the song. So the only instrument that is not created by the JP-8080's synthesis engine are the drums - which came Microtonic utilizing their Analog Tonic library, 808/909 sounds as a base in which I modified to create the drums.

    90s AUTHENTIC (almost):
    The other sounds used to make up the song I don't think are entirely notable by themselves.
    The bass line comes from the Legato 303 preset and has been slightly modified (to be less legato, contrary to the name).
    There are 2 super saws featured, which seems appropriate since Roland's Jupiter line of synths (what the JP-series has been based on) is renowned for it's "Big Saw Sound".
    The first of which is just used to enhance and fill out the spectrum and I feel is otherwise unremarkable. It is the"1979!" preset completely unmodified, notable for having a harsh, crisp sound.
    The second super saw comes in the second half of the song, which is where I think there is more interesting sound design.

    This was a super saw patch I built myself intended to have a rich full sound. It uses Arturia's Phaser BI-TRON emulation for unique phasing effects with the phase pedal linked to the envelope of the drums. This makes the phasing sync up not only with the beat but also the waveform of the drums, which I thought created a really interesting phase pattern. By having the phaser sweep across such a rich, full synth sound, it creates a warm and pleasant tone to the phasing that I felt gave the song a unique character of it's own.

    Additionally, the entire thing is also running through Arturia's excellent replica of the Lexicon 224 digital Reverb effect. This helped create the wide reverby space that glues everything from the drums to farty synths together creating what I feel is modern digital techno with an authentic 90's electronic vibe.

    Overall, the song was fun to put together, and it's still somewhat of a new workflow process for me to have to think about performing and recording parts while writing the song.

    I'm considering adding vocals to this song as well, which is why the center channel is rather empty. If the vocals do ever come together, y'all probably won't hear it until (or really, if) I release an album.

    Hope y'all enjoy it! I know I certainly love this synth and had fun making this song.