SPECTRASONICS TRILIAN GROOVES RIFFS SERIES

Resonance should be at around 11 oвЂ™clock, this will give us a nice peak, emphasizing the frequencies around or cutoff point. You should set the cutoff point at around 8 oвЂ™clock, donвЂ™t worry if the sound you get is kinda muddy, we will modulate this later using an envelope. This is an 18dB/oct fully resonant low pass filter thatвЂ™s not as aggressive as a 24dB/oct nor as polite as 12dB/oct, so, thatвЂ™s kinda what we needвЂ¦ (BTWвЂ¦ this type of filter is the one youвЂ™ll find in the venerable TB-303 baseline synth). Moving to the filter section, we will only use one filter, so, go ahead and select the Acid filter in FILTER1. OSC1 and 2 should look something like this: So, back on the detuning, OSC1 pitch, should be around 11.92 and OSC2 should be 0.07, that will produce some desirable phase issues that will be perceived as fatness. (Unless itвЂ™s 1986, and the abuse of chorus is the trend). Let me clarify something, there are many synths that gives you chorus, and the original patch, actually uses some chorus, but, remember this: Chorus is for one oscillator synths (like Juno 6, 60 or 160) or for synths that sounds really poor Roland JD-990 Module пїј(string machines?), in any other case, chorus, will just destroy the sound of the synth. Many people tend to use chorus to add fatness, thatвЂ™s not the way to go. Why we do that? Why detuning oscillators one against the other? ThatвЂ™s what will give you fatness, period. But, weвЂ™re gonna detune it some cents against OSC1, which, by the way, will be one octave higher. Great! Back to OSC2, this will be our central octave sound. So, your OSC3 should look something like this: Also for OSC3 (this one will be our bottom end, woking almost like a sub osc), weвЂ™re gonna turn down the pitch an entire octave (-12.00). For OSC3, we will turn down a little bit the intensity knob to 2 oвЂ™clock.

Now, for OSC1 and OSC2, weвЂ™re gonna get the Wt-position knobs all the way to Saw, to do that, just turn them all the way up, and for OSC3, weвЂ™re gonna get the knob all the way to Square, so, turn it all the way down. So, letвЂ™s turn on the three oscillators and choose the Square-Saw II wavetable in all three. IвЂ™m more of an analogue guy, so, IвЂ™m gonna talk about the second option which uses analog waves (kindaвЂ¦). In NI Massive, unfortunately, weвЂ™ve got no pizzicato wavetable to choose, but, we have one named Guitar PulseвЂ¦ that, might just work if you are in a hurryвЂ¦ Just turn on the three oscillators, and select that wavetable in all of themвЂ¦ YeahвЂ¦ that doesnвЂ™t sound as Faithless at all, but, hold on, keep on reading. In the original JD patch, theyвЂ™ve started from a Pizzicato preset and then added some tweaking. As you can hear, itвЂ™s a kind of short plucked string type of sound, so, for the oscillators, weвЂ™ve got two ways to go and itвЂ™s up to you to decide which one works better.

пїјThat main repetitive riff sound came out from a Roland synth: the Roland JD-990. And better than that, how can you create your own big 90s synth sounds from scratch based on this example.ДЇirst of all, I hope you all have listened at least once to Insomnia, a Faithless classic. The band came out in the late 90s with some massive (no pun intended!) hits and now, IвЂ™m gonna talk about one of those riffs and how you can easily recreate it in Massive. The maestros of those synth riffs, were without any doubts, Faithless.

SPECTRASONICS TRILIAN GROOVES RIFFS SERIES

Oh, the 90sвЂ¦ we used to wear awful clothes, there were no reality shows, MTV used to play music videos and digital wavetable synths, like the JD series from Roland, were the machines to use if you were making dance musicвЂ¦ Especially for those big sounding riffs.

We are very happy to have Rafael, from Piggy Sounds Studio, here today for this awesome tutorial on designing retro 90s sounds with NI Massive.

Spectrasonics trilian grooves riffs