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help me replicate this jordan rudess synth sound


Henré

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the search function never seems to work on this board. *shrug*

 

 

i'm talking around 5:30, where he's jamming the continuum. i'm not interested in the delay/reverb type effects - just the basic underlying synth tone. if anyone can help me out in terms of what waveform(s) to use, what the filter cutoff/res range is (referring to when he's pushing his finger upwards and it sweeps the harmonics), what kind of distortion effect would work, and any other important tricks such as fm or ring modulation, i would appreciate it. would be even cooler if someone could make a rough mockup patch in reason and send it to me, but i guess that's asking too much. :P

 

i understand the workings of am synthesis pretty well, i'm just not experienced enough to figure stuff like this out myself.

 

sweet.

~a revolution without dancing is a revolution not worth having~
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There's not fm or ring modulation.

 

It's some saw and narrow pulse waveforms through a resonant low pass or band pass filter, then routed through a distortion (amp sim).

 

The rest of it is details .. but the details are what makes the sound work ... and the details really depend on the synth, and the tonal characteristics of the filter and the amp sim.

 

In doing sounds like this ... for the "feedback effects" portion of it ... I sometimes cross fade out the fundamental, while cross fading in waveforms pitch 1, 1.5 and 2 octaves above the fundamental. Typically the higher harmonics are done with (mellow) sines or triangle waves.

 

Some filters will provide nice harmonic sweeps. That crinkle you hear is the familiar sound of a Roland digital filter under high resonance ... it tells me that a bit part of his sweep is actually the filter. When using band pass filters, depending on the width of the amplified region, you can take out too much fundamental as you sweep it. When this happens, I might use a low pass filter instead (or parallel BPFs at different cutoffs) and additively bring harmonics in. The details ... well that's the craft of it. It depends on your synth.

 

Jerry

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I have a similar lead sound that I've used for years. I've programmed it on anything that has resonant highpass filters and aftertouch... Roland JVs, XPs, Fantoms, and currently a Yamaha Motif ES.

 

Tune highpass cutoff to fundamental (63 on Rolands, 105 on Yamahas). Set keyfollow to 100% and don't modulate cutoff with anything else like velocity, envelopes, LFOs.

 

Then in Control (the modulation matrix on Rolands and Yamahas) set aftertouch as the source and both cutoff and resonance as destinations. You will have to fiddle with amounts and it helps to set them separately.

 

Now, when you press down on the keys the filter will sweep up and resonance will be added. The harder you press the more drastic the resonant bump will be.

 

You want to use highpass filters instead of the more traditional lowpass in order to preserve the high frequency content of the patch without aftertouch. Since it's tuned to fundamental it won't thin the sound out. With a little initial resonance it actually makes it bigger. With a lot of initial resonance your patch gets immensely huge... an old programming trick for other types of sounds too.

 

Anyway... interesting video. I was really surprised at how much reverb Jordan has on everything when playing live.

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thanks bill.

 

tusker - i don't actually own a physical synth. i'm going to try and get something like this going in reason's subtractor for now.

~a revolution without dancing is a revolution not worth having~
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i'll probably end up getting one, though... not only for the kind of thing rudess uses it for in that vid, but also to do ondes martenot sounds with.
~a revolution without dancing is a revolution not worth having~
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