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1481236074-DM Workbook v4 107 PDF

This document provides an overview of basic synthesizer concepts as taught by deadmau5. It discusses oscillators that produce basic waveforms, filters that modify sounds, envelopes that shape sounds over time, and LFO and cross modulation. The goal is to learn these fundamentals of sound synthesis so you can build your own sounds rather than relying on presets. You are encouraged to experiment by twisting knobs on a simple synth to learn what parameters do, and also to try recreating the deadmau5 pluck sound as an example.

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Leandro Yako
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175 views3 pages

1481236074-DM Workbook v4 107 PDF

This document provides an overview of basic synthesizer concepts as taught by deadmau5. It discusses oscillators that produce basic waveforms, filters that modify sounds, envelopes that shape sounds over time, and LFO and cross modulation. The goal is to learn these fundamentals of sound synthesis so you can build your own sounds rather than relying on presets. You are encouraged to experiment by twisting knobs on a simple synth to learn what parameters do, and also to try recreating the deadmau5 pluck sound as an example.

Uploaded by

Leandro Yako
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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07 INTRODUCTION TO SYNTHESIZED SOUNDS

DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 17

Once you’ve learned the basic food groups of synthesis, then SUBCHAPTERS
there’s no plugin, no synth that’s going to completely mystify ▶▶ We’re Here to Create
you. — deadmau5 Sounds No One’s
Ever Heard
▶▶ Synth Basics:
CHAPTER RECAP Waveforms and
Filters
Great producers don’t just settle for using plug-in presets or out
▶▶ Using Envelopes and
of the box sounds in their tracks. Learning the basic principles of
LFOs to Modulate
how synthesizers produce sounds will help you build and tweak
Sound
patches to generate sounds no one can replicate.
▶▶ How to Build the
Deadmau5 Pluck
The best way to learn synths is by experimenting with them.
▶▶ Your First Synth
Get yourself a cheap, simple synth and start twisting knobs and
can Teach You
making noise until you get a feel for what each of the parameters
Everything
does. Joel taught himself all the basics with a Roland MC-303.
(You can also use a plug in like Serum.) Once you’ve got some
experience, you’ll be able to hear a sound, like the deadmau5
pluck and have a good idea of how to build it yourself. NOTES
The basic components of a synthesizer are sound sources
(oscillators) and modifiers (filters, envelopes etc). Oscillators
produce simple waveforms, and modifiers make these simple
sounds more complex. In this lesson, Joel focuses on:

Oscillators: which produce the basic waveforms of sine, square,


and sawtooth, each with its own distinctive sound. These
waveforms can have different frequencies, usually from 0 to
20,000Hz (Hz = oscillations per second). Having two or more
oscillators playing waveforms on top of each other is called
“additive synthesis.”

Unison: is a kind of additive synthesis, where the synth generates


multiples of the same wave form, all slightly out of tune with each
other, to create a broader, richer sound.

Filters: modify a sound by taking away certain frequencies and


adding emphasis to others. A low pass filter (LPF) takes out
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07 INTRODUCTION TO SYNTHESIZED SOUNDS
DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 18

certain high frequencies (the low freqs “pass” through). A high


pass filter (HPF) does the opposite. A band pass cuts out low and
NOTES
high frequencies around a certain middle band. The “cutoff” of
a filter determines the frequency where the modification begins.
The “resonance” affects the sharpness of the modification.

Envelopes: shape sounds over time. They usually control either


the volume of a sound or the amount it is affected by the filter,
from the time a note starts to the time it stops. The basic
parameters of an envelope are: attack, decay, and release. If
the envelope is effecting volume, attack determines how long it
takes for the sound to reach full volume; decay determines how
long it takes for the volume to start fading down; and release
determines how long it take for the sound to go silent once the
note is no longer being played. Those parameters together
are often referred to as ADR. Sometimes an envelope will also
have a sustain parameter (this is an ADSR envelope). Sustain
determines how long a sound holds at a given volume after it has
decayed.

LFO (low frequency modulation) and Cross Modulation: occurs


when one waveform alters a parameter of another—usually
either the pitch, the volume, or the action of the filter. This can
produce tremolo-type effects (waveforms altering volume),
vibrato (altering pitch), or sweeping sounds (altering the filter). If
the modulation is happening at a rate of about 20hz or lower, it's
considered LFO.
TAKE IT FURTHER

▶▶ Listen to The Prodigy's "Firestarter", and try to identify the preset


sound from the Korg Prophecy.

▶▶ Listen to "The Veldt" for an example of the pluck sound you just
learned how to build. Can you hear its parameters changing
over the course of the track? What do you think is being
altered?

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07 INTRODUCTION TO SYNTHESIZED SOUNDS
DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 19

▶▶ For deeper dives into synth basics, try one of these websites: NOTES
▼▼ Synthesizeracademy.com
▼▼ Beausievers.com

ASSIGNMENT

▶▶ Now that you’ve watched Joel do it, try to build the deadmau5
pluck on your own, using the synth or plug-in of your choice.
How close can you get it? Now play around with the parameters
and make a totally new pluck sound that you find interesting and
unique. You might want to try using it to play one of the melodic
ideas in your bin.

v1.0

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