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BY: Netsky / Eats Everything / Flux Pavilion / D Ramirez / Adam Beyer / Addison Groove / Calvertron / Darren Price / Dean Coleman / Dubfire / James Zabiela / Krafty Kuts / Moguai / Pretty Lights / Slam
CMus55 TOP TEN SYNTHS
“My favourite synths”
> zebra2 NOISE GENERATOR Yeah, the oscillators are cool, but every synth needs a noise generator
MODULES Route Zebra2’s many magnificent modules in this handy patching grid
LFO The LFO is just one of Zebra2’s many mod sources
VCF We don’t need to tell you that u-he makes fabulous filters FMO Good old-fashioned digital FM synthesis is available for crystalline sounds GLOBAL Get access to the bits that affect the overall synthesiser by clicking the Global tab
u-he
MORE MODULES This is where you patch up the various available effects modules
Zebra2
DELAY The many parameters of any selected effect will be displayed here
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If a virtual synthesiser could be considered a classic, u-he’s mighty modular masterpiece would certainly be deserving of the title
Sometimes we’re met with a product so impressive that anything we write about it is going to sound as if we’re on the developer’s payroll. Zebra2 is one of those. We gave it a rare ten out of ten score when we reviewed it in , but rest assured, Zebra2 deserved every last drop of praise we could pour on it. A cross-platform semi-modular synthesiser? Surely it could only elicit a ho-hum reaction – after all, we’ve seen just about every imaginable variation on the theme. Nevertheless, with its module routing grid (unusual at the time of its release) and fully decked-out feature list, Zebra2 is undeniably special. However, it’s the developer’s dedication to besting our favourite hardware synths that allows Zebra2 to really sprint ahead of the competition. Urs Heckmann has amassed a respectable collection of hardware classics and studied them deeply. He’s been inspired by the 38 / Computer musiC speCial
“A lot of thought has gone into ensuring that your journey around the GUI is smooth and simple” old favourites but hasn’t taken the path of direct emulation, instead copying the best bits, improving on them and adding entirely modern functions. Make no mistake, the man knows how to emulate an analogue synth – for proof, you need look no further than u-he’s DIVA, which also appears in the pages of this Special.
Zebra2 is no clone, then, but a sound design powerhouse all its own. Digital additive synthesis comingles with analogue subtractive techniques and a whole lot more to form a creative sonic playground for those willing to dive into Zebra2’s complex brainwaves. For those who just want to get on with playing, there are scads of fantastic presets from u-he’s master patch programmers (including the inimitable Howard Scarr, interviewed opposite) as well as user-created patches scattered all over the internet.
First impressions
Zebra spreads a lot of functionality over an interface that owes little or nothing to the hardware synths that modelled by some other developers – there are no faux-wood panels or photorealistic knobs here. For that reason, there is a slight shortage of familiarity that might leave you scratching your head at first. After a bit of
zebra2 <
“You’ll have no excuse for static, boring timbres, as Zebra2 makes it too easy to get ’em moving” playing about, however, it becomes obvious that a lot of thought has gone into ensuring that your journey around the GUI is smooth and simple. Upon first firing up the synth, you’re met with the Perform functions, comprising a quartet of X/Y pads that allow quick access to parameters of your choosing. Zebra2 is divided into a pair of tabbed panels. These X/Y pads take up the topmost panel and represent the lion’s share of the screen real estate. You can tab between this page, another for Synthesis, and another dedicated to the patch browser. The synthesists among you will, natch, spend most of your time on the Synthesis page. Here you’ll find an unusual take on modular synthesis – the centre of the page is given over to a patch routing scheme wherein different modules are placed in one of four columns, with the signal flowing from top to bottom. That’s not to say you can’t patch from one column to the next, however. Modules are inserted via dropdown menus that appear when clicking on a module slot. To the left you’ll find the editors for any modules you’ve inserted, and to the right are the editors for any modulation gubbins you might have assigned. Modulation is assigned to individual sources via yet more menus.
DEVELOPER CHAT
Howard Scarr
Fully loaded
We don’t have the space here to cover every available module, but as you can imagine, there are basic analogue-style oscillators, FM operators, multimode filters and more. The oscillators are among Zebra2’s best features – there are custom wavetables available, and even the waves within them can be user-created using a keen waveform display that appears on one of the tabbed Osc sections below the main view. FM synthesis is of the DX variety, similar to synths like the much-loved DX21 and TX81Z. Like the other oscillators, the FM operators have a tabbed display at the bottom of the GUI. The oscillators have a dedicated set of Osc FX that can be assigned in the lower half of the module. These effects are specifically designed
Don’t let the default page fool you. Zebra is more than a performance synth – it’s a sound design powerhouse
to work on the signal at this earliest stage. There are two dozen to choose from, and with bizarre names like Scrambler, Turbulence and Trajector, it’s obvious from the get-go that these aren’t your standard algorithms. Modulation options abound, with envelope generators, LFOs, multisegment envelopes, arpeggiator/sequencer and, of course, MIDI. MIDI Learn is available, as are the most common MIDI controllers like modwheel, breath controller and aftertouch. In other words, you’ll have no excuse for static, boring timbres, as Zebra2 makes it too easy to get ’em moving. Like any modern instrument, Zebra2 sports a bevy of built-in effects processors – in fact, they get their own module routing matrix. Delays, compressors, more filters and reverb are
if Zebra2 presents vistas of unexplored sonic territory, it’s only fitting that it should be mapped out by a bona fide sonic pioneer. Developers u-he must have recognised exactly that when they enlisted synthesist howard scarr to provide many of its numerous preset patches. scarr is quickly making his name as a sound designer with a new generation of u-he aficionados, but more, shall we say, ‘experienced’ music fans will recognise him as a one-time member of Gong and, more importantly, Zorch, the uk’s first all-synth group, who made their debut back in 1973. Zorch had the distinction of being the only band to record in peter Zinovieff’s eMs studio in putney and, in fact, they made much use of eMs synthesisers. howard – then known as Gwyo Zepix – and Zorch co-pilot basil brooks hauled three eMs synths to their gigs and, coupled with an extensive light show, wowed audiences with their psychedelic improvisations. “My first two synths were both eMs synthis, one of them with that little blue ks sequencer keyboard, the other with a Dk2,” howard recalls. “i foolishly sold them for peanuts in the late 70s, but recently bought an anyware tinysizer in a fit of analogue nostalgia. it’s cheaper, it’s built like a tank and the patching system is pure genius.” so how does howard feel Zebra2 compares to those pioneering eMs instruments? “i wouldn’t compare Zebra2 to the eMs synthi – u-he’s aCe is conceptually much closer,” he says. “on the other hand, Zebra2 is by far my favourite synth these days. except for a few features that might appear in a ‘Zebra3’, you can practically go as deep as you like without Zebra ever saying, ‘sorry, i can’t handle that’ or ‘ok, here’s your horrible sound!’ “My favourite programming trick when patching Zebra2 is adding a resonant all-pass filter in parallel, then modulating the cutoff with a mod-mapper in key mode. it’s great for strong per-note tonal offsets.” on the question of reviving his analogue past, howard has a never-say-never approach. “Zorch are not active now,” he says, “but who knows what the future might bring..?”
provided, along with various other options. The editors for these modules appear in the Global section, with only one visible at any given time. The various parameters available to the effects can be lashed to modulation sources in the (you guessed it – tabbed) Matrix display. This being a u-he product, you’ll already know the sound quality is unassailable. That alone sells Zebra2, even to those who can’t be bothered with rolling their own patches. Still, patching is what Zebra2 is all about, and the factory set shows off its abilities to great effect. There are pounding analogue basses, searing leads, rich, evocative pads and rhythmic song-on-a-key creations. Most of the patches are tasteful, musical and inspiring. Add all this together and you’ve got the makings of a true modern classic. Computer musiC speCial / 39
> zebra2
Zebra2 in black and white Without so much as breaking a sweat, Zebra2 can go from being a basic, single-layered synth, offering the standard Nintendo beeps and melodies, to a highly complex multi-oscillating monster that can dominate the frequency spectrum from every angle. Zebra2 has the ability to create huge stereo sounds that retain a warm tone, something many software synths just haven’t quite got right in the past. No longer will your lead lines sound metallic and your chord progressions seem empty – for big, rich sounds, this is your go-to synth! Here we’re going to look at the built-in functions Zebra2 has to offer, focusing on the unique oscillator effects. These facilitate a great deal of modulation and manipulation of your synth’s sound before going anywhere near the standard LFO, envelope and effects units that are commonly associated with most synths.
> Step by step
“Zebra2 has the ability to create huge stereo sounds that retain a warm tone” The layout of this superb synth is one of the most user-friendly and easy to understand out there. There’s no hidden wiring, and every oscillator, filter and envelope is perfectly organised so that getting to grips with Zebra2 takes literally the length of this tutorial. We’ll start by showing you how to turn traditional house-style synth chords into huge,
beautiful chord patterns. Keeping everything user-friendly to the extreme, we’ll look at routing and linking the outputs of the oscillators and patching to create new layers. We’ll go into as much depth as space permits, getting under the hood of each oscillator and filter, but don’t forget to experiment. If you like the sound we’ve created at the end of a patch-building section, you could perhaps try changing one of the voices or linking an output with, for example, an FM oscillator. Look into each dropdown menu for voice settings and play around to create new ideas, and don’t forget those useful oscillator effects when things need spicing up. All of these will be explained throughout the tutorial. We’ll also look at creating a gated synth with the easy-to-use multi-segment envelope generator, and finish off by making an epic lead sound in four easy steps.
Power chords
TuTorial
Files
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We’ll start by taking a quick look at the basics. Go to the Patches window and load the patch called basic.h2p. This is a single-oscillator organ-type preset (it sounds like powerchord1. mp3). We’re using a skin called Unempty Dark Horse (downloaded from KVR at bit.ly/lu3Zyu) as it displays everything clearly. Now, tab over to the Synthesis page.
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Vibrato is automatically linked to LFO 1, so to give the notes some movement, increase the vibrato fully in the Osc 1 module. As the initialised vibrato is a little slow, increase the rate slightly to give it a buzzier sound. Now rather than have it kick in straight away, go to the LFO module and use the Delay function to restrict the vibrato to affecting only the longer notes (powerchord2.mp3).
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Even with a single oscillator, we can create a huge-sounding synth by upping the number of voices used. Go to the poly parameter (just under the Osc 1 label in the default skin) and change the voices to quad. You may need to turn the volume down now, as more voices equals a louder sound! Use the Width knob to increase the stereo spread (powerchord3.mp3).
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Now we’ll start working with the oscillator FX. Open up the FX section on the oscillator and select the dropdown menu for FX 1. Choose brilliance and turn the value knob to around 3 o’clock. This will increase the higher harmonics to add some extra shine to your sound (powerchord4.mp3).
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Sticking with the oscillator FX, assign FX 2 to a Filter setting. The value should be all the way down. Click the empty knob to the right of the value control and assign envelope 2 to connect the new filter effect to that envelope. Set the newly assigned parameter to full and turn the Decay in Envelope 2 down to about 9 o’clock to create a short, stabby prog-house sound (powerchord5.mp3).
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Now let’s create a more varied texture. Go to the grid and click on the second slot down in the second column, then select Mix 1. This links the output of Oscillator 1 with whatever you connect Mix 1 to. Now click on the slot just below the new Mix 1 module and select a Comb 1 module (powerchord6.mp3). Obviously, you could add pretty much anything here.
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Things can get a little complicated here, so in order to be able to hear exactly what you are doing to the sound in lane 2, mute the first lane by clicking on the little red box next to the word Main. Turn Comb 1’s tune up by an octave (12.00 semitones) and leave the noise parameter on full to give a bright shine to the new layer.
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Crank up the input within the comb oscillator to get some of the original sound running through, and turn the Damp and Width parameters up to full. Increase the Detune a little to give a nice ringing sound, set both tone and Flavour to about 1 o’clock and set the Distort parameter to about 10 o’clock.
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In Envelope 2, turn the release up to full – we’re going route some parameters through here from the comb oscillator, and with the release turned down the sounds will not be able to ring out. Now click the empty knob to the right of the Damp setting and choose envelope 2 as its modulation source. Turn this knob fully counter-clockwise (powerchord7.mp3).
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Finally, in any new patch, all lanes of the synth are routed through Envelope 1. As this second layer feels like it should have a longer release, set lane 2’s output to Envelope 3 and set a longer release to give a bell-like quality. Turn the sustain up so the longer notes don’t cut off (power chords.h2p, powerchord8.mp3).
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> zebra2 > Step by step
Gated pad
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Let’s knock up a rhythmic filtered sound using Zebra’s multi-stage envelope generators (MSEGs) to get the gated effect. Start with your basic patch. Click Multistage eG in the bottom window. Draw a pattern in the display using Cmd/Ctrl-click to add nodes, then click and drag on lines to adjust their curves. Make sure your loop (blue nodes) starts at 1 and finishes at 16.
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Add another Osc module in the second grid lane, then reduce the volume of both oscillators. Set the Modulation knobs to MseG 1 and crank the amounts. Detune each oscillator by equal and opposite amounts. In Osc 1’s FX section, set FX 1 to bandworks and modulate with LFO G1 for filter movement. Add brilliance to bring out the highs (Gated pad1.mp3).
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Select turbulence as FX 1 for Osc 2 and crank up the value. Add a third oscillator into the grid, again setting MSEG 1 to the volume parameter, and this time to tune as well. Set the tune to +12 and the Modulation to -12. This creates a strange retro bend to sit in the background of your sound.
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Put Osc 4 in the final lane, then assign MseG 1 as the volume modulator and crank it up, with the volume of the oscillator down. Click the More osc 4 tab at the bottom, and leave the voicing at spectroblend. Having a basic sound holds down the chord before we start placing filters on everything (Gated pad2.mp3).
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Place VCF 1, 2 and 3 on lanes 1, 2 and 3, just below Oscs 1, 2 and 3. Set VCF 1’s filter mode to lpvintage (for warmth), its Cutoff to 12 o’clock and its resonance to 10 o’clock, and assign the third knob to envelope 2, set to 3 o’clock. Set VCF 2 and VCF 3 to envelope 3, set to 3 o’clock with the Cutoff at full.
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On all of your envelopes (1, 2 and 3), set the release to about 12 o’clock. The attack on Envelope 2 should also be set to about 12 o’clock to give a gentle sweeping sound to Oscillator 1. Set the Cutoff to 11 o’clock on VCF 2 and 2 o’clock on VCF 3, and the resonance to 9 o’clock on Filters 2 and 3.
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Add a noise oscillator in the grid below Osc 4. Set it to stereo by clicking the circle above the module’s pan knob. The noise’s Filter 1 knob should be at zero. Attach MSEG 1 to the Filter 1 knob and turn it up, then set the Width to full. Set Filter 2 to 2 o’clock – this removes unwanted low-frequency noise (Gated pad3.mp3).
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In the grid, add a filter below the noise oscillator. In VCF 4 allocate LFO G2 to the third knob, setting the Cutoff to 3 o’clock. Set the resonance at 10 o’clock. Increase LFO G2 to affect the filter by the tiniest amount, so that we hear movement but retain most frequencies, then crank the Drive up to 2 o’clock.
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Now the patch needs to be mixed in the right way so the main oscillators aren’t drowned out by the background sounds. We look to the mixer underneath the four lanes to balance it out – the best way to start is by soloing each part and listening to what each oscillator is bringing to the sound.
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Oscillators 1 and 2 should be the dominant sounds because the envelope on Osc 1’s filter weakens the attack; however, the bell-like sound of Oscillator 2 recovers it. Bring up the levels of 3 and 4 so that the textures and space created by these two oscillators are audible but not overwhelming. Adjust speaker volume if that helps.
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Click Global/FX in the bottom window to bring up yet another grid. On the Master effects line, first place Delay 1 and set its Mix to about 11 o’clock. Filter out the clashing frequencies by bringing the highpass up to 11 o’clock and the lowpass down to 2 o’clock. For a wider stereo sound, change Delay 1’s sync1 rate to 1/8.
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Put your sound into some space by adding a Reverb into your chain. Bring up the Reverb’s Dry parameter to 3 o’clock so that your original signal isn’t lost, and increase the Wet control to 12 o’clock. Finally, add a little bit of extra brightness to your overall sound by boosting the High-end Shelf EQ at 4kHz (filter gate.h2p, Gated pad4.mp3).
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> zebra2 > Step by step
Ripping lead
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In this tutorial we’ll make a quick ripping lead. Load up Oscillators 1 and 2, both with Dual voices (in the Mix section) and with the Width turned right up. Set Oscillator 1’s tune an octave up and Oscillator 2’s an octave down. Set the vibrato to be delayed and make the rate faster, then set your voices to legato and your Glide to 10 o’clock.
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Go to More osC 2 in the bottom window and select a square wave. In Osc 2’s FX, set the first FX slot to sync Mojo and assign Envelope 2 to modulate it. Set Env 2’s Decay to 9 o’clock – this adds a plucky element to the attack of the sound. In FX 2, insert the brilliance setting again for added glisten (ripping lead1.mp3).
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Attach the VCF 1 filter into the chain below the oscillators and set the Cutoff to 1 o’clock, the resonance to 8 o’clock and the Drive to 12 o’clock. Although some of the legato notes may be filtered, this creates a raspy sound and adds movement within the frequencies (ripping lead2.mp3). Assign Env 3 to the third knob and crank it. Set its Decay and sustain to about 10 o’clock.
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To finish your sound, go to the Global/FX matrix and in the Master lane add ModFX 1. Set this to phaser and turn the Mix up to full. Using similar ideas to our gated pad patch (p43, Step 11) and a Delay and Reverb, set the Wet/Dry ratio on the Reverb so your patch isn’t soaked in reverb and arrange your Delay to have a nice stereo bounce (ripping lead.h2p, ripping lead3.mp3).
The ModMatrix and Performer apart from the elements we have looked at in this tutorial, two additional key parts of Zebra2 are the ModMatrix and performer. the first of these enables any modulation to be routed to any adjustable parameter within Zebra2. When looking at the basic oscillators, we’ve already seen that each one is accompanied by an empty assignable modulation parameter, which enables the user to modulate specific parameters. the ModMatrix encourages the user to go one step further. For example, suppose you wanted to modulate the Detune of an oscillator with lFo 3. there’s no set parameter for this purpose, but you could achieve it by simply going to the ModMatrix, selecting oscillator 1-Detune in the target section and selecting lFo 3 in the Mod section. With up to 12 spare slots, you’re literally spoiled for choice in what you can modulate. 44 / Computer musiC speCial
the performer function allows a user to manipulate four assigned parameters of their choice with an X/y controller. this can be handy if you use your soft synths in a live environment, as they can be mapped to a MiDi controller. assigning these parameters is easy: simply right-click on whatever parameter you desire. then, using Cutoff as an example, assign it to X2, then choose a second parameter, resonance, and assign that to y2. now when you move the cursor along the X/y pad, you can affect both of these parameters at the same time. if you’re not satisfied with the way the X/y controller is affecting your sounds, you can even adjust the amount changed. this is achieved by going into Xy assign and adjusting the degrees of automation there. these can all be automated in the same way as any other parameter within Zebra2. one
Multi-modulating has never been as easy as with Zebra2
method would be to go into the Global section of the automation menu and choose the X or y parameter you wish to automate; or if, for example, you are using logic, use the latch function and automate both X and y parameters at the same time, then go back and tidy up what you have drawn in.
my favourite synths <
my favourite synths
James Zabiela Which soft synths does this electronic whizz-kid favour in the studio? native instruMents raZor “After a long break I recently started venturing back into the studio, firmly in the mindset that I need to be having fun – and this synth really helps with that. Razor is really easy to understand and entertaining to use because of the display, but most importantly, it sounds great.”
“Razor is really easy to understand and entertaining to use because of the display, but most importantly, it sounds great” rob papen albino “Rob Papen’s Albino is great for sub-basses, FX and leads. Sonically, it’s a real class act. It isn’t trying to emulate a real analogue synth and failing – it is its own beast. “Whether you’re an experienced producer or just starting out, you should definitely seek out Razor and Albino – once you get to grips with them, you’ll find you don’t really need to look anywhere else when you’re in the studio! ”
James Zabiela launches his label born electric in september. www.twitter.com/jameszabiela
Dean Coleman New York-based, Grammy-nominated producer/ composer Dean Coleman lets us in on his faves FXpansion DCaM: synth squaD “Cypher, Strobe and Amber work in any way you want – you can create amazing sounds that are as close to analogue as you can get. I’ve used Cypher for leads and pads on almost all my tracks, and it’s great for chords and FX too.” u-he Zebra 2 “I love Zebra because most of the time you end up turning it down! The pads and leads sound like my Juno-106, but it’s easier to edit. It has the capability to make anything from a kick, snare or bass to a lead or huge saw. I would rather take the time and make a patch than browse presets forever. I usually make different versions – I have a bass lead I started on about two years ago that has morphed 33 times since then!” GForCe iMposCar2 “When GForce brought out impOSCar2, I knew it would be a badass. Poly leads in Unison mode scream and, right out of the gate, the basic settings are good to go. It has nine built in-filter types to help shape whatever you are working on, and I really like the interface because I feel like I’m on a real keyboard and not a soft synth GUI.
GForce stuff has a unique character and rich warmth that I love, and impOSCar is one of my go-to synths for every project.” XFerreCorDs nerve “Nerve has become one of my favourite soft synths of all time because of how quickly it enables you to cut up and slice loops and drums. It allows me to scan through my
“GForce stuff has a unique character and rich warmth that I love” sample library like nothing else I have. Steve Duda has added elements of his LFO tool plug-in so any of the 16 pads can be assigned as your sidechain source and you can add sidechain by amount to each.” native instruMents reaktor “What’s great about Reaktor is that you can easily tie two different ensembles together to create a synth rack or synth plus effect rack. It has a sonic payoff that is nothing short of first-rate.”
Dean Coleman earned a Grammy nomination for I Want You and produced the tracks Set It Off and If Looks Could Kill for timomatic. www.djdeancoleman.com Computer musiC speCial / 47
> dcam: synth squad
Unlocking the potential of DCAM: Synth Squad FXpansion’s DCAM: Synth Squad took very little time to become one of our favourite plug-in bundles. In this set of walkthroughs we’ll guide you through some of the key features of each of the three DCAM synths and uncover a few hidden secrets along the way. We’ll start with Strobe, the simplest of the three synths and the easiest for beginners to get to grips with. Strobe’s single-oscillator architecture is inspired by classic 70s analogue synths such as the Roland SH-101 and Yamaha CS-10, both of which could achieve huge sounds despite their apparently limited feature sets. What may not be immediately apparent is that a clever modulation trick allows access to a ‘hidden’ oscillator within Strobe. With the number of unison voices set to 2 and Unison1+ selected as a TransMod slot source, modulation depths can be used to control the settings of the second
> Step by step
“A clever modulation trick allows access to a ‘hidden’ oscillator within Strobe” unison voice. You may well ask why it’s necessary to go to all of this trouble when you could just start with a dual-oscillator synth or even Cypher, but Strobe’s unusual approach is much more powerful than it may first appear: not only does it enable you to use a second oscillator, but it also effectively gives you access to a second filter, LFO, envelopes and so on.
Next up, we’ll use Cypher to take a closer look at the TransMod modulation routing system included in all three DCAM plug-ins. TransMod is one of the keys to unlocking these synths’ huge potential. Dozens of modulation sources can be routed to just about any parameter, allowing modulation setups to be as complex and interwoven as you as you like. It’s even possible to modulate the modulation sources themselves or send one modulation source via another. We’ll investigate some of the main options by creating a dynamic, evolving pad sound. Finally, we’ll program a classic analogue string synth sound in Amber, DCAM’s dedicated string machine. Amber is relatively straightforward, but getting to grips with its retro approach, independent synth and ensemble sections and formant filter options is crucial if you want to get the most out of it.
Synth Squad’s hidden treasure
TuTorial
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Here we’ll use Strobe’s hidden oscillator to create a percussive lead. Starting from Strobe’s init patch, head to the Mixer section, turn the default saw wave all the way down and set the sqr wave to maximum instead. Use the central pulse Width knob to dial in a slightly more hollow sound – somewhere around 25% duty cycle should work (strobe 1.mp3).
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Down in the Amp Envelope section, we can now set the attack time to its absolute minimum for the punchiest possible sound. We also turn the sustain level down slightly and add a short Decay to emphasise the attack transient. A release time of around 100ms will help smooth out the tails of the notes (strobe 2.mp3).
We use a standard 4-pole low-pass filter, with the Cutoff relatively high and a medium resonance setting. Driving the filter by around 15db adds a more aggressive edge to the sound. Leave key tracking set to 100%, then add a little envelope modulation. The default modulation envelope Decay setting of 500ms is fine for our purposes (strobe 3.mp3).
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To thicken up the sound slightly, we’ll add a sub-oscillator an octave down from the main oscillator pitch – somewhere around 60% on the sine sub mixer setting should work well. Too much sub can easily overwhelm your mix, taking up space where your bassline should sit. A very small hint of noise (somewhere around 5%) adds a little bit of dirt to our patch (strobe 4.mp3).
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So far, everything we’ve done could be achieved in almost any synth – now it’s time to unlock Strobe’s secret oscillator and take things to the next level. In a TransMod slot, select unison1+ from the poly menu as a modulation source. Down in the Settings section, turn unison up to 2. The number of voices will automatically increase, but the patch is still monophonic.
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Strobe will now play both unison voices simultaneously, but until we change one of the parameters we won’t hear the difference. The quickest way to hear the effect of the hidden oscillator is to detune it. In the Oscillator section, adjust the modulation depth of the main pitch setting. You should immediately hear the difference in tuning (strobe 6.mp3).
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With the pitch modulation depth put back to zero, we continue building our sound. We want to split the sound into two distinct elements. The main part will be the square wave oscillator we’ve already set up. To set up the hidden oscillator, we go back to the Mixer section and adjust the modulation depths to create the two separate voices (strobe 7.mp3).
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For our second voice, which we’re using for the noise and sawtooth parts of the sound, we change the amp envelope settings dramatically. A slow attack, quicker Decay, lower sustain and zero release will make these parts of the sound fade in slowly for each note, creating a much more interesting effect than we’d otherwise be able to achieve (strobe 8.mp3).
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Even the filter can have different settings for each voice. We stick with the low-pass filter on the main voice but change to a high-pass on the second oscillator. The interplay between the two elements of the sound creates a more complex sound than a single oscillator, both rhythmically and in terms of frequency range (strobe 9.mp3).
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And finally, here’s the patch in the context of a loop. The sky’s the limit as far as differences between the voices go. With the exception of just a few settings, nearly every parameter can be different between the main voice and the hidden oscillator – and we haven’t even touched the LFO or modulation routing options in this example (strobe 10.mp3, CM special – strobe.strobe).
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> dcam: synth squad > Step by step
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Complex modulation in Cypher
The complexity of Cypher’s three-oscillator architecture makes it slightly trickier to program than Strobe, but its versatility also means it can be used to create an incredible range of sounds. Here we investigate the potential of the TransMod system. Start with the init patch and increase the number of voices to 8 so we can make a polyphonic pad sound (cypher 1.mp3).
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The init patch is an unfiltered sawtooth. We start to make the sound more complex by turning on the other oscillators, one set to a complex wave (osc2Wave 75%) and one to a triangle (osc3Wave 0%). To tune Oscillator 3 an octave down, right-click the scale knob and ensure equal is selected, then turn the scale knob down to -12.00 semitones (cypher 2.mp3).
3
Cypher has two independent filters, each with its own waveshaper (which can be inserted pre- or post-filter). Each oscillator can be routed to either or both of the filters using the fader found next to its Gain control. We adjust these for all three oscillators to ensure that they’re all reaching both filters in varying proportions.
4
The two filters can also be routed in four different ways. We go for 1+2, which places them in parallel. Filter 1 is a low-pass by default. Ensure Filter 2 is turned on and then set it to high-pass. The large knob in the centre of this section can be used to adjust the scale (cutoff) of both filters simultaneously (cypher 4.mp3).
5
Basic modulation of the master cutoff frequency can be achieved using the env1 and env2 knobs next to the large scale knob. We’ll set Env 1 to create a slow filter sweep with each key press. For a pad, it’s usually a good idea to create slow modulations that gradually ebb and flow over the course of long, held notes (cypher 5.mp3).
6
For greater control over the envelope modulation, we also route Env 2 to each filter’s individual scale control via a TransMod slot. The beauty of the TransMod approach is that we have complete control over the direction and range of each filter’s sweep. The independent movement of two filters around a similar frequency range creates interesting tonal shifts (cypher 6.mp3).
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7
Various standard modulation options are built into Cypher, but the most powerful options come from the TransMod slots. We’ll use the lFo1+ via ramp+ slot. Modulating the FM level of Oscillator 2 via the ramp generator ensures there’s a short delay each time a new note is pressed, before the sound begins to break up as frequency modulation is applied (cypher 7.mp3).
8
LFO 2 will be used for a very slow modulation of Oscillator 2’s phase and the oscillators’ filter routings. Be aware that it’s easy to end up with a sloppy mess if you add too many modulations to a sound. Don’t be afraid to go back and make a few of your modulation depths a little more subtle if things begin to sound muddled (cypher 8.mp3).
9
Don’t forget to include a few performance-based routings using modulation sources such as velocity, aftertouch and the mod wheel. We route Env 1 to the filter resonance via the velocity, which enables us to hit the keys harder for a more resonant filter sweep. Even a simple velocity-based modulation like this allows us to play the patch much more expressively (cypher 9.mp3).
10
We use the filter spread control to add stereo width to the sound, panning the two filter outputs left and right. The result is a dynamic, evolving pad sound that should add movement and interest to any simple chord progression. Experimenting with the TransMod system will reveal numerous other ways to create interesting sounds (cypher 10.mp3, CM special – Cypher.Cypher).
Fusor the Fusor shell instrument for the DCaM synths allows up to three instances of strobe, Cypher or amber (or any combination) to be stacked together on a single track – but there are a few things to consider before you start piling them on. like so many of the most powerful synth plug-ins, the DCaM instruments can be seriously Cpu-hungry beasts when provoked. Dial in complex polyphonic patches and you can soon use up a big chunk of your computer’s processing power – and needless to say, stacks of synths in Fusor will have an even greater impact on your Cpu load. optimal workflows will always differ from one producer to the next, but we’d generally recommend only loading the DCaM synths via Fusor when you really need to take advantage of its unique features. these include the additional lFos and envelopes, the excellent
animator sequencer/arpeggiators and the ability to split sounds across keymaps. perhaps most notably from a synthesis standpoint, Fusor allows each loaded instance of a DCaM synth to be modulated by any other. the potential of a nine-oscillator synth made up of three instances of Cypher is mind-bogglingly huge. on the other hand, if you just want to use Fusor’s most basic effects, such as a reverb or eq, you may be better off adding your plug-ins to the DCaM instrument’s channel strip rather than housing them in Fusor. if you do decide to use Fusor, remember that most DaWs can take advantage of its multi-out options, allowing each synth instance to be routed to its own mixer channel for further processing. Given that presets can be saved in a standalone instance of each DCaM synth and then reloaded inside Fusor, we’d also suggest
Fusor’s ability to combine DCaM synths has awesome potential, but it comes with a heavy cost on your Cpu
that in most cases you’d be best off starting in the standalone plug-in unless you know for sure that you’re going to be employing Fusor’s advanced options. Computer musiC speCial / 61
> dcam: synth squad > Step by step
Creating a classic string synth patch in Amber
1
Cypher and Strobe offer extensive oscillator options, but the setup in Amber is much more simple, based on classic 70s string synths like the ARP Omni. We begin with the init patch and focus first on the Ensemble section. To start, turn the synth section all the way down using the mixer controls and turn off Chorus to get a better idea of the raw ensemble sound (amber 1.mp3).
2
There are just three controls for the ensemble oscillators, allowing us to adjust the levels of the 8’, 4’ and 2’ pitches, each an octave apart. We can create a rich, thick tone using a mixture of all three. The low- and high-pass filters can also be used to shape the basic tone of the oscillators before they hit the formant filter (amber 2.mp3).
3
The formant filter is the real heart of Amber’s ensemble section, essentially comprising a bank of four band-pass filters in parallel, allowing four frequency bands to pass simultaneously. Note that the filters can also be switched to notch settings. Turn the filter on, then try adjusting the Frequency and Gain settings to hear how they affect the sound (amber 3.mp3).
4
Now let’s apply some of the dynamic modulation effects that make string patches sound so much more interesting. The chorus effect is a classic for string synths. Amber’s stereo chorus offers three modes with the usual rate and speed controls, but for a more hands-on approach we also route the LFO to the formant filter scale (frequency) using a TransMod slot (amber 4.mp3).
5
Finally, we reintroduce the synth section. This has a more basic synth architecture, with just 8’ and 4’ octaves plus optional noise. The same high- and low-pass filters are present, but the synth oscillators then feed into a paraphonic multimode filter. We use this in low-pass mode and route the modulation envelope to the filter Cutoff in the ModEnv+ TransMod slot (amber 5.mp3).
6
The synth section can behave quite differently depending on the settings you use in the Perform section. We stick with the default Mononote mode but change the keying priority to the lowest note so that the synth section plays a simple bassline in harmony with our chord progression (amber 6.mp3, CM special – amber.amber).
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