Yes, naturally you can do it in REAPER. You want to enable: File > Project Settings > Advanced > [ ] 'Allow feedback in routing (can result in lower performance, loud noises)' - it's off by default for obvious sanity reasons, but you can just turn the training wheel off right there.
ALSO Reaper has crazy parameter modulation settings and you can use audio input to control any parameter! So you can control pitch with transients or MIDI data
@@OskarCzechowicz-OmniMusician no um I mean ik I can modulate, I use automations a lot and sometimes lfo, just the idea of using it for snares seems cool and unique to me
@@Nebvla for this? It’s worth considering ReaDelay! It’s built in, length goes down to 0, it has filters built in. Turn dry to 0 and never put wet at 0.
Looking forward to more content, whatever it may be. I think the big appeal that made your first video a hit was the approach of decomposing the process of synthesis and going through it step-by-step, while exposing the logic translating the physical aspects into something actionable. It's a very didactic method of explaining things and makes it easier to extrapolate beyond what was shown. IMO, that's definitely something you should lean on.
That's very good to know. I have a very formulaic thinking style, so it's my nature to try and break concepts down into a simple set of principles. I love the idea of making "3Blue1Brown" style vids, but with audio.
Did a drum synthesis assignment for uni last year and started stumbling across realistic snare sounds. Tried searching youtube for tutorials etc but couldn't find any. So glad your content popped up in my suggested's! Would love to see a video on other feedback synthesis uses!
I think the coolest thing of the last video was indeed the discussion surrounding it. pity that youtube is horrible for comments! but yeah, this is awesome, thank you for the work :)
I can assure you that a lot of people in Drum and Bass are paying close attention to "out of the box" techniques for creating unique sounding snares. Everyone has access to Addictive and Superior, but you invariably end up with similar sounds to other producers when using a sampled drum synth. Creating snare tuning harmonics totally sythetically is a new level in original sound design.
Was one of those reeled in by the algo, replicated the snare synthesis in FL Studio with quite some variation and while I understood what each part did it still somehow surprised me how close to a real snare sound yet unique I got with it, especially the "ringing" quality to it. Quality stuff man!
FL user here, I'm just dumping out of FL and going into Bitwig to see what madness I can do there, but for the sake of people who can't just switch DAWs on a whim, what's your workaround for the feedback loop?
YOU Sir, are officially my favorite UA-cam (almost non-) creator and if I had the money I would simply MAKE you make more videos. You. Are. Awesome! Big love! ❤❤❤
Bro, thank you so much🙏🏼 I might consider starting a Patreon or something if I get better at making good vids. It ain't easy being consistently innovative though! New vid coming VERY soon, too!
Yeah, being consistent is the hardest part... But tbh, I'd rather have you post something YOU yourself are feeling good about every other year, than seeing you fall for the algorithm every other day. Stay safe out there, brother. "To be yourself is all that you can do." - Chris Cornell
Bless the algo. The same thing happened to me and I thought it was the weirdest thing. Went from 1 to 2k subs in a week. I hope you continue making content because it's unique and thoughtful, and despite the millions of sound and music youtubers, there's always room for one more.
BTW, As much as I look forward to your super unique and interesting content, I recommend not stressing yourself to be 1000% unique. In my experience it can stunt you. Some people, like me, will be happy hearing you explain something basic in your own unique way. I teach music technology at a university and this has been what I've learned from students. Maybe some here will disagree with me.
@@jeffreyjbyron I appreciate the advice! I have a friend who burnt himself out once from making audio production vids, so I'm gonna try not to stress too much about it haha. I do love the idea of just breaking down confusing audio concepts in a simple way.
@@zionjaymes You'd be surprised how confused some people are. I've had to explain what "distortion" is to students and I realized that I'd never really heard a good explanation of it and all its definitions, just took it for granted. Not saying you should focus on basic stuff, but you do have a unique way of explaining things. You might also be surprised how big your community can get if you nurture it. I'm currently scoring a feature directed by someone I met in a youtube comments section. And I've NEVER been committed to making videos. I just post my reel and occasionally use YT to livestream and I still meet interesting people. Good luck and see you in future comments sections!
Def sticking around for that kick drum vid! very excited to have found another channel that dives deeper and covers more uncharted concepts rather than regurgitating the same 10 videos that have been made 8 gazillion times. Whatever you decide to make in the future, I'm excited to learn from it!
just watched your kick video and realized that that you hadn't actually blown up yet, so I checked out your channel and saw that I had missed this follow up video. You will blow up soon, mark my words. (Like in a YT subscriber way. Not like a bomb) Man, I miss Logic after having switched to Linux. But I can't go back. I wish all DAWs had a basic physical modelling toolkit like Logic does. You can get great sounds out of it if you spend some time learning it.
I successfully did it in Reaper without routing feedback, just using the stock delay plugin which already has in-loop highpass and lowpass filters. You lose some of the finer control over the harmonics, but the phase shift from the highpass filter in particular lets you generate those same drum shell-y overtones. You can still just EQ it afterward to take out individual harmonics if desired.
Looking forward to your next videos! Even though YT might seem crowded, I personally very often find it difficult to find videos I'd really like to watch (creative, inspiring, on-point and in-depth).
absolutely love it,this method of sound design is totally new to me even after 10 years of making music. all the other drum design tutorials I've seen before last week all rely on math, FM, waveshaping and careful mixing, whereas you have showcased a way to make everything within the software follow the natural laws of physics that give a real life drum its sound. the next thing I would love to see here would be some methods for how to take a sound like this (or a whole kit) and emulate the tone of some of those classic drum breaks like Skull Snaps - It's a New Day etc. RC-20, MCabinet and convolvers just aren't cutting it and I feel like you could totally pull it off. (also.. how have you not switched to Ableton yet?)
If it aint broke dont fix it. Sound design has already worked for you obviously. And its one of my very favorite things about music so I am biased. Ive just always loved how sounds can transport you to a different planet or era in time. Correct me if im wrong but I dont think there are too many artists on youtube who exclusively or mainly cover sound design? I think there may be a lot of room there to experiment and create new things. Stay blessed man, whatever you do.
BTW if it helps: I've made a custom electronic drum that measures the pitch of the head. It seems the pitch on a snare drum quickly goes down after the hit and goes back up again. It happens pretty fast. Although may not be the same on an acoustic drum as with a mesh head because mesh heads on electronic drums are not air tight membranes.
you have a nice sound for the drum part . next challenge : find how to build a more realistic snare sound with delay/comb filter ( more than one is better ) , and ... an envelope. It would fit better with your drum part.
Damn this is awesome! Can't believe I didn't think if putting the feedback on max in a plugin. I gave up when you talked about feedback synthesis in the previous video. Still amazing!
@@bharatmadho3742 in MComb, I have the feedback set between 70-90% or so, but it’ll probably depend on the plugin. You can use the Dry/Wet knob to mix it in, too!
For those of you that are wondering, feedbacks in Reaper are possible but they are disabled by default, you have to allow them in Files>Project Settings. It doesn’t work that great, Reaper is doing something weird with the buffer size when you feedback.
again great video, i like how you transport your own excitement about synthesis :) don't be scared about waveguide, it's just a fancy term and there are pretty basic models you can build that would be considered waveguide synthesis. adding non-linearity is pretty important, an allpass filter can do that or some basic waveshaping, all inside the feedbackloop. the great thing about physical modelling is that it's really open for experimentation, like you using several delays. how about changing the feedback paths of those four delays so one feeds into two, feeds into three etc? i would also try out more excitation signals, add noise to the transient. and at the end use a static body eq that mimics the resonances of a certain drum/instrument whatever. way cool that your video reached more people:)
6:25 reaktor costs money but you could totally do it. past some size of mesh or whatever it’s not gonna be very fun to set up since there’s no algorithmic configuration, just all manual. a few dozen for this would probably get a more realistic sound than one delay line while still being feasible to set up. but it’s less of a thing that does stuff for you and more of a dsp tuned visual programming sandbox, and esp core is definitely programming, so def takes some setup. if you decide to do this, i’m on the reaktor discord and i’m happy to help.
love the videos mate but small correction bc I'm a big colour bass fan :P. Colour bass is very different from future bass, future bass is far more similar to trap (although when I'm looking up some mixes on yt rn its also getting mixed up with melodic dubstep a lot), kind of a melodic version of it usually sticking to supersaw chords n stuff. Colour bass really focuses on unique melodic bass design, taking dubstep basses and routing them through resonators, convolution reverbs with melodic impulses and plugins like pitchmap and chroma.
@@natanstunes it was more of a joke, but yeah, you are correct. I view the general musical idea and “vibe” of colorbass as a sort of a “rebirth” of future bass. Just using newer synth technology. There’s an emphasis on “colorful” jazz chords, rich and complex harmonies, and lively melodies in both genres.
yeah I agree completely regarding using it to make impossible percussion. Using a synthesizer and trying only to make live instrument noises is like going offroading and insisting on only driving parallel to the actual road
Do videos about writing melodies and adding special stuff to a song to make ot complete. That is something no one talks about that i think is super important and i struggle with this.
you can continue to dive into this topic, maybe you will discover more unusual methods of making sounds without complex plugins and in general simple ways to emulate realistic sounds of any instruments with a minimum of resources are interesting.
Hey I played around with this and I haven't gotten that far yet but I suggest making the finger "tap" into a stick tap like this: I took the Basic_wrd osc and used attack 0.9ms, hold 1.7ms, decay 3.6ms and release 15ms. That produces a really heavy attack that sounds more like a stick. Now there is too much attack lol.
Take a look at Reason and it’s old effect Kong. It has pysical modeled snare, tom and kick modules that sound quite fun, but similarily lack punch until processed. I bet they use same kind of feedback internally, but their interface is quite fun with adjustments for drum size and tightness.
Hey, that's me, lol. I did eventually get it all working but I didn't feel like I had a lot of control over it, which isn't really true. It was just very finnicky and after you start eqing and processing the sound then I didn't want to muck w the synthesis part anymore or else the fundamental and harmonics would change, etc
If you or anybody wants to make an actual tutorial video on the MComb method that I can follow, please do! I have been trying to "figure out what you did" for long enough to make me want to quit, at least for now. Also, if anyone does make a video, please make sure to *explain everything you're doing.* Thank you.
we should do every part of the drum next. i'm sure it's easier to synthesize a somewhat realistic sounding kick but i'm interested in a realistic sounding hi hat, which i;m sure is also easy. my whole goal is to try and make a whole realistic synthesized drum kit
@@Amangiechsin actually, hats might be the hardest to “model” in a realistic way, since they’re two cymbals interacting with each other! Using Au5’s tutorial, I’ve made some REALLY convincing splash cymbals though!
@@zionjaymes you're right. it probably isn't as simple as just putting two synthesized hats together and then modulating the release time as a means of recreating the sounds of two cymbals reverberating against each other. maybe synthesizing a rimshot would be easier to do?
Honestly, stick to the snare topic. Surely there is more to be explored and talked about. I went through the same experience on my lurking journey and it just seems like no one out there has had the time to kick off the arms race of snare synthesis. Like really if anything your videos here only increase the potential for someone out there to realize this MASSIVE hole in the market, and then boom, snare synthesis will become popular, plugins will be made, etc. I remember those thumbnails in your screenshot of those old videos, and I couldn't believe that's all the internet had to offer at the time. Actually it's nice you showed in this video the ease of just using a few melda plugins in a chain to get some decent results. A good update for the internet knowledge pool. I remember years ago having to adapt the FM8 video to work on Ableton's Operator synth, which has only 4 operators instead of 8... Was fun and I did make a chain to synthesize snares, but nothing truly ground breaking. It's like how you pointed out that only considering those 3 elements, the skin hit, snares sizzle, and drum resonance was a good start but only an approximation, I think there is still much more to be discussed between sound designers before the eureka moment happens and we all have a perfect recipe for synthesizing snares to share with the world. You've definitely brought us all just a little bit closer, by at least having the conversation. Because although lots of people already knew about karplus strong and modal synthesis, there's still many who don't know; and they won't until they catch themselves in the conversation.
instead of mixing tips, why not focus on your DAW as an alchemy lab? your video contributed to me just starting to do crazy experiments again. we have pretty fast computers now compared to 10-20 years ago, so we are able to do some insane stuff. so last week I tried figuring out what you can do with crazy large effects stacks and how to use them productively. another thing that interests me but there is very little information about: how to make random vst presets if you have no randomizer in the plugin. I know Reaper has some scripting stuff but I wasn't so lucky getting these to work. Reaper is a mess sometimes 😂
Your physical modelling stuff is great. You say you learnt a lot from Venus Theory but let's be honest that guy records himself farting on a windchime, plays it into a convolution reverb and sells it. It doesn't inspire me. There's only so many times I can listen to someone bang on about how they cleverly inserted a violin bow into a cat's rectum in the name of sound design. Coffee with Cameron. Thanks man, no I didn't know I could make polyrhythms by force feeding tampons to a crocodile and piping the sampled grunts into a delay. What? You sampled dying children on a cancer ward and layered it up to sound like a room full of ghosts? Well done Venus Theory your creativity knows no bounds. He didnt do that btw I'm just saying he likes his weird shit and always hangs out in that darkened room.
@@endoflevelboss 😂😂😂 God that was fun to read. I was mostly referring to his video essays on musicianship and psychology n stuff. I’ve seen a couple good tuts from him but haven’t binged his stuff so honestly had no idea 😅
I got inspired by yours but wanted to see if I could figure out how to do it without needing to leave the confines of Phase Plant. I was able to come up with a very convincing patch using just Phase Plant itself, I've got an example of it in here: ua-cam.com/users/shortsNPxqRFCvgR8?si=nH6ACxBoL7_lJHUx Thanks for sharing the technique in the first place!
The point of synthesized drums is not to sound real rather the opposite! If you want "real" drums you can use acoustic drums or maybe samples? Apart from that it was interesting to see you reverse engeneer a synthesis method known as physical modelling so thanks for an interesting video!
I think the point can also be to be able to have more control over how a drum sounds. Personally, I hate digging through sample packs until I find the sound that I want.
@@LawrenceAaronLuther yes i have finished a realistic snare drum with realistic snare ( not just white noise in wide filters , like here ). And because real snare's sound is very complex there was not guide for doing it. Then the fun was to discover how to get a better snare sound, from a simple idea, to the point where it become more realistic, even with the crispy side, and understand why it works like this. Making a generic synth snare sound is far less fun and educative.
Yes, naturally you can do it in REAPER. You want to enable: File > Project Settings > Advanced > [ ] 'Allow feedback in routing (can result in lower performance, loud noises)' - it's off by default for obvious sanity reasons, but you can just turn the training wheel off right there.
ALSO Reaper has crazy parameter modulation settings and you can use audio input to control any parameter! So you can control pitch with transients or MIDI data
I did this, but I couldn't get the feedback to get very high pitched, do U have a reaper delay recommend?
@@OskarCzechowicz-OmniMusicianwait whaaaaa
@@OskarCzechowicz-OmniMusician no um I mean ik I can modulate, I use automations a lot and sometimes lfo, just the idea of using it for snares seems cool and unique to me
@@Nebvla for this? It’s worth considering ReaDelay! It’s built in, length goes down to 0, it has filters built in. Turn dry to 0 and never put wet at 0.
Looking forward to more content, whatever it may be.
I think the big appeal that made your first video a hit was the approach of decomposing the process of synthesis and going through it step-by-step, while exposing the logic translating the physical aspects into something actionable. It's a very didactic method of explaining things and makes it easier to extrapolate beyond what was shown.
IMO, that's definitely something you should lean on.
That's very good to know. I have a very formulaic thinking style, so it's my nature to try and break concepts down into a simple set of principles. I love the idea of making "3Blue1Brown" style vids, but with audio.
This man just casually explained science in a 9min fire vid 😎👍
Did a drum synthesis assignment for uni last year and started stumbling across realistic snare sounds. Tried searching youtube for tutorials etc but couldn't find any. So glad your content popped up in my suggested's! Would love to see a video on other feedback synthesis uses!
Love the emphasis on novelty instead of just rehashing the same tutorials. Big up dude!
I think the coolest thing of the last video was indeed the discussion surrounding it. pity that youtube is horrible for comments! but yeah, this is awesome, thank you for the work :)
EDM arms race got me bussin up
I can assure you that a lot of people in Drum and Bass are paying close attention to "out of the box" techniques for creating unique sounding snares. Everyone has access to Addictive and Superior, but you invariably end up with similar sounds to other producers when using a sampled drum synth. Creating snare tuning harmonics totally sythetically is a new level in original sound design.
Was one of those reeled in by the algo, replicated the snare synthesis in FL Studio with quite some variation and while I understood what each part did it still somehow surprised me how close to a real snare sound yet unique I got with it, especially the "ringing" quality to it. Quality stuff man!
FL user here, I'm just dumping out of FL and going into Bitwig to see what madness I can do there, but for the sake of people who can't just switch DAWs on a whim, what's your workaround for the feedback loop?
YOU Sir, are officially my favorite UA-cam (almost non-) creator and if I had the money I would simply MAKE you make more videos. You. Are. Awesome! Big love! ❤❤❤
Bro, thank you so much🙏🏼 I might consider starting a Patreon or something if I get better at making good vids. It ain't easy being consistently innovative though! New vid coming VERY soon, too!
Yeah, being consistent is the hardest part... But tbh, I'd rather have you post something YOU yourself are feeling good about every other year, than seeing you fall for the algorithm every other day.
Stay safe out there, brother.
"To be yourself is all that you can do."
- Chris Cornell
Damn the mcomb idea is great, thanks for the demo
Bless the algo. The same thing happened to me and I thought it was the weirdest thing. Went from 1 to 2k subs in a week. I hope you continue making content because it's unique and thoughtful, and despite the millions of sound and music youtubers, there's always room for one more.
BTW, As much as I look forward to your super unique and interesting content, I recommend not stressing yourself to be 1000% unique. In my experience it can stunt you. Some people, like me, will be happy hearing you explain something basic in your own unique way. I teach music technology at a university and this has been what I've learned from students. Maybe some here will disagree with me.
@@jeffreyjbyron I appreciate the advice! I have a friend who burnt himself out once from making audio production vids, so I'm gonna try not to stress too much about it haha. I do love the idea of just breaking down confusing audio concepts in a simple way.
@@zionjaymes You'd be surprised how confused some people are. I've had to explain what "distortion" is to students and I realized that I'd never really heard a good explanation of it and all its definitions, just took it for granted. Not saying you should focus on basic stuff, but you do have a unique way of explaining things.
You might also be surprised how big your community can get if you nurture it. I'm currently scoring a feature directed by someone I met in a youtube comments section. And I've NEVER been committed to making videos. I just post my reel and occasionally use YT to livestream and I still meet interesting people. Good luck and see you in future comments sections!
Def sticking around for that kick drum vid! very excited to have found another channel that dives deeper and covers more uncharted concepts rather than regurgitating the same 10 videos that have been made 8 gazillion times. Whatever you decide to make in the future, I'm excited to learn from it!
just watched your kick video and realized that that you hadn't actually blown up yet, so I checked out your channel and saw that I had missed this follow up video. You will blow up soon, mark my words. (Like in a YT subscriber way. Not like a bomb)
Man, I miss Logic after having switched to Linux. But I can't go back. I wish all DAWs had a basic physical modelling toolkit like Logic does. You can get great sounds out of it if you spend some time learning it.
Yeah Dan Worrall is pretty much all we need regarding mixing ❤
Cool! Looking forward to seeing what you do to make kick drums. The way you explain the sonics is helpful. Thanks!
Oh yeah! Kicks are fun and easy to do in a few different flavors.
Duuuude!!!! This is the perfect sequel
I successfully did it in Reaper without routing feedback, just using the stock delay plugin which already has in-loop highpass and lowpass filters. You lose some of the finer control over the harmonics, but the phase shift from the highpass filter in particular lets you generate those same drum shell-y overtones. You can still just EQ it afterward to take out individual harmonics if desired.
Thanks for your 2 design tutorial vids, much appreciated! As an idea....maybe Bongos and Congas!
Looking forward to your next videos! Even though YT might seem crowded, I personally very often find it difficult to find videos I'd really like to watch (creative, inspiring, on-point and in-depth).
absolutely love it,this method of sound design is totally new to me even after 10 years of making music. all the other drum design tutorials I've seen before last week all rely on math, FM, waveshaping and careful mixing, whereas you have showcased a way to make everything within the software follow the natural laws of physics that give a real life drum its sound.
the next thing I would love to see here would be some methods for how to take a sound like this (or a whole kit) and emulate the tone of some of those classic drum breaks like Skull Snaps - It's a New Day etc. RC-20, MCabinet and convolvers just aren't cutting it and I feel like you could totally pull it off.
(also.. how have you not switched to Ableton yet?)
3:05 glad to contribute ❤
If it aint broke dont fix it. Sound design has already worked for you obviously. And its one of my very favorite things about music so I am biased. Ive just always loved how sounds can transport you to a different planet or era in time. Correct me if im wrong but I dont think there are too many artists on youtube who exclusively or mainly cover sound design? I think there may be a lot of room there to experiment and create new things. Stay blessed man, whatever you do.
BTW if it helps: I've made a custom electronic drum that measures the pitch of the head. It seems the pitch on a snare drum quickly goes down after the hit and goes back up again. It happens pretty fast. Although may not be the same on an acoustic drum as with a mesh head because mesh heads on electronic drums are not air tight membranes.
Please keep making videos. You have a cool style.
There’s always room for more quality content, even if the information isn’t brand new
you have a nice sound for the drum part .
next challenge : find how to build a more realistic snare sound with delay/comb filter ( more than one is better ) , and ... an envelope.
It would fit better with your drum part.
I want to toss my hat in the ring ^^ just made a kick drum tutorial, but I'm hyped to see what you will cook
"future bass is making a revival, its just called color bass now" bruh
He's out of line, but he's right xD
Damn this is awesome! Can't believe I didn't think if putting the feedback on max in a plugin. I gave up when you talked about feedback synthesis in the previous video. Still amazing!
@@bharatmadho3742 in MComb, I have the feedback set between 70-90% or so, but it’ll probably depend on the plugin. You can use the Dry/Wet knob to mix it in, too!
For those of you that are wondering, feedbacks in Reaper are possible but they are disabled by default, you have to allow them in Files>Project Settings. It doesn’t work that great, Reaper is doing something weird with the buffer size when you feedback.
again great video, i like how you transport your own excitement about synthesis :) don't be scared about waveguide, it's just a fancy term and there are pretty basic models you can build that would be considered waveguide synthesis. adding non-linearity is pretty important, an allpass filter can do that or some basic waveshaping, all inside the feedbackloop. the great thing about physical modelling is that it's really open for experimentation, like you using several delays. how about changing the feedback paths of those four delays so one feeds into two, feeds into three etc? i would also try out more excitation signals, add noise to the transient. and at the end use a static body eq that mimics the resonances of a certain drum/instrument whatever. way cool that your video reached more people:)
Well, it was simply a superb video.
6:25 reaktor costs money but you could totally do it. past some size of mesh or whatever it’s not gonna be very fun to set up since there’s no algorithmic configuration, just all manual. a few dozen for this would probably get a more realistic sound than one delay line while still being feasible to set up. but it’s less of a thing that does stuff for you and more of a dsp tuned visual programming sandbox, and esp core is definitely programming, so def takes some setup. if you decide to do this, i’m on the reaktor discord and i’m happy to help.
love the videos mate but small correction bc I'm a big colour bass fan :P. Colour bass is very different from future bass, future bass is far more similar to trap (although when I'm looking up some mixes on yt rn its also getting mixed up with melodic dubstep a lot), kind of a melodic version of it usually sticking to supersaw chords n stuff. Colour bass really focuses on unique melodic bass design, taking dubstep basses and routing them through resonators, convolution reverbs with melodic impulses and plugins like pitchmap and chroma.
@@natanstunes it was more of a joke, but yeah, you are correct. I view the general musical idea and “vibe” of colorbass as a sort of a “rebirth” of future bass. Just using newer synth technology. There’s an emphasis on “colorful” jazz chords, rich and complex harmonies, and lively melodies in both genres.
CHROMA!!!!!!!!!!!!! v fun
Bro thanks pls keep these tutorials comin 🎉
Enjoyed this video, subbed, looking forward to see other videos
yeah I agree completely regarding using it to make impossible percussion.
Using a synthesizer and trying only to make live instrument noises is like going offroading and insisting on only driving parallel to the actual road
That’s actually a really great analogy
Do videos about writing melodies and adding special stuff to a song to make ot complete. That is something no one talks about that i think is super important and i struggle with this.
you can continue to dive into this topic, maybe you will discover more unusual methods of making sounds without complex plugins
and in general simple ways to emulate realistic sounds of any instruments with a minimum of resources are interesting.
"How do you get your drums?"
"It's complicated."
Hey I played around with this and I haven't gotten that far yet but I suggest making the finger "tap" into a stick tap like this: I took the Basic_wrd osc and used attack 0.9ms, hold 1.7ms, decay 3.6ms and release 15ms. That produces a really heavy attack that sounds more like a stick. Now there is too much attack lol.
I got jumpscared by my own comment lol. For real though this stuff is crazy, it feels like how modern classics are made.
Yup is time to keep these videos going 🎉
FL Studio has been unlocked >w
Take a look at Reason and it’s old effect Kong. It has pysical modeled snare, tom and kick modules that sound quite fun, but similarily lack punch until processed. I bet they use same kind of feedback internally, but their interface is quite fun with adjustments for drum size and tightness.
I didn't subscribed because I saw it was a small channel and I thought you'd never upload anything again, LOL. Fortunateley YT recomended you again
Please make more videos❤❤❤❤
I'm uploading a new one very soon!
Hey, that's me, lol. I did eventually get it all working but I didn't feel like I had a lot of control over it, which isn't really true. It was just very finnicky and after you start eqing and processing the sound then I didn't want to muck w the synthesis part anymore or else the fundamental and harmonics would change, etc
Please do sound design tutorials for the following:
• Spring Drum
• Banjo
• Kora
....and
• Vibraslap
Oh gosh, putting me to work with these haha. String instruments can be modeled pretty simply. I’d have to take a think about metal springs tho.
If you or anybody wants to make an actual tutorial video on the MComb method that I can follow, please do! I have been trying to "figure out what you did" for long enough to make me want to quit, at least for now. Also, if anyone does make a video, please make sure to *explain everything you're doing.* Thank you.
no, you're the stud :)
Ya the best!
stop getting more goated
i love listening to the PAPS and doots
we should do every part of the drum next. i'm sure it's easier to synthesize a somewhat realistic sounding kick but i'm interested in a realistic sounding hi hat, which i;m sure is also easy. my whole goal is to try and make a whole realistic synthesized drum kit
@@Amangiechsin actually, hats might be the hardest to “model” in a realistic way, since they’re two cymbals interacting with each other! Using Au5’s tutorial, I’ve made some REALLY convincing splash cymbals though!
@@zionjaymes you're right. it probably isn't as simple as just putting two synthesized hats together and then modulating the release time as a means of recreating the sounds of two cymbals reverberating against each other. maybe synthesizing a rimshot would be easier to do?
And then export each sound so i can then use them as triggers on my acoustic drumset.😁
This was dope to see
“I’m working on the kick drum” = sub!
I loved your video
please make a video on idm drum synthesis
Would be cool if you upload the same videos in ableton, is it possible to do the same self routing in ableton?
Honestly, stick to the snare topic. Surely there is more to be explored and talked about. I went through the same experience on my lurking journey and it just seems like no one out there has had the time to kick off the arms race of snare synthesis. Like really if anything your videos here only increase the potential for someone out there to realize this MASSIVE hole in the market, and then boom, snare synthesis will become popular, plugins will be made, etc. I remember those thumbnails in your screenshot of those old videos, and I couldn't believe that's all the internet had to offer at the time. Actually it's nice you showed in this video the ease of just using a few melda plugins in a chain to get some decent results. A good update for the internet knowledge pool.
I remember years ago having to adapt the FM8 video to work on Ableton's Operator synth, which has only 4 operators instead of 8... Was fun and I did make a chain to synthesize snares, but nothing truly ground breaking. It's like how you pointed out that only considering those 3 elements, the skin hit, snares sizzle, and drum resonance was a good start but only an approximation, I think there is still much more to be discussed between sound designers before the eureka moment happens and we all have a perfect recipe for synthesizing snares to share with the world. You've definitely brought us all just a little bit closer, by at least having the conversation. Because although lots of people already knew about karplus strong and modal synthesis, there's still many who don't know; and they won't until they catch themselves in the conversation.
instead of mixing tips, why not focus on your DAW as an alchemy lab? your video contributed to me just starting to do crazy experiments again. we have pretty fast computers now compared to 10-20 years ago, so we are able to do some insane stuff. so last week I tried figuring out what you can do with crazy large effects stacks and how to use them productively. another thing that interests me but there is very little information about: how to make random vst presets if you have no randomizer in the plugin. I know Reaper has some scripting stuff but I wasn't so lucky getting these to work. Reaper is a mess sometimes 😂
Ur the best
I got decent results using the 'Echo' effect in ableton
Your physical modelling stuff is great. You say you learnt a lot from Venus Theory but let's be honest that guy records himself farting on a windchime, plays it into a convolution reverb and sells it. It doesn't inspire me. There's only so many times I can listen to someone bang on about how they cleverly inserted a violin bow into a cat's rectum in the name of sound design. Coffee with Cameron. Thanks man, no I didn't know I could make polyrhythms by force feeding tampons to a crocodile and piping the sampled grunts into a delay.
What? You sampled dying children on a cancer ward and layered it up to sound like a room full of ghosts?
Well done Venus Theory your creativity knows no bounds. He didnt do that btw I'm just saying he likes his weird shit and always hangs out in that darkened room.
@@endoflevelboss 😂😂😂 God that was fun to read. I was mostly referring to his video essays on musicianship and psychology n stuff. I’ve seen a couple good tuts from him but haven’t binged his stuff so honestly had no idea 😅
LOL
I got inspired by yours but wanted to see if I could figure out how to do it without needing to leave the confines of Phase Plant. I was able to come up with a very convincing patch using just Phase Plant itself, I've got an example of it in here: ua-cam.com/users/shortsNPxqRFCvgR8?si=nH6ACxBoL7_lJHUx
Thanks for sharing the technique in the first place!
when new video?? make a full set of shells
I'm uploading a new one very soon!
give me the kick drum video NOW!
Please contribute !!
Haven't found anything good and comprehensible about how to model amps etc. on the internet, btw.
Like and comment for the algo. More homebrew percussion sims pls 🙏
It's time for you to teamup with AngeTheGreat and engine simulator...
Pop filter. Pop filter. Pop filter. Please.
@@lyghters I’m using one here. Just eating the mic haha. Next time I’ll give it some distance.
The point of synthesized drums is not to sound real rather the opposite! If you want "real" drums you can use acoustic drums or maybe samples? Apart from that it was interesting to see you reverse engeneer a synthesis method known as physical modelling so thanks for an interesting video!
I think the point can also be to be able to have more control over how a drum sounds. Personally, I hate digging through sample packs until I find the sound that I want.
@@Pr0jectFM also, with synthesis you can get way more variety and granularity than with samples. Every hit is unique.
And for some, synthesis is so fun that synthesizing IS the point
@@LawrenceAaronLuther
yes
i have finished a realistic snare drum with realistic snare ( not just white noise in wide filters , like here ).
And because real snare's sound is very complex there was not guide for doing it.
Then the fun was to discover how to get a better snare sound, from a simple idea, to the point where it become more realistic, even with the crispy side, and understand why it works like this.
Making a generic synth snare sound is far less fun and educative.
The point of synthesised drums is control.
You should really use some convolutuon IR. That reverb is ugly