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That Dub Techno Chord Sound

Comments

  • Registered Users Posts: 227 ✭✭romarr


    along the lines of any way ...

    this http://www.youtube.com/watch?v=ogjN0WJtRKc

    and this http://www.ronnypries.de/gear/production/a-look-at-dubtechno-chordsnstabs/

    ableton specific but i'm sure you can transpose that to maschine or whatever youre using nowadays steve


  • Registered Users Posts: 352 ✭✭splitrmx


    The Maurizio dub sound, aka, the techno holy grail.

    Take an analogue synth, like a Korg Polysix, play a minor chord with a really short release, feed that into some other analogue filter with its cutoff modulated in time to the music. Have the send on that channel of your analogue mixing desk go into a Roland Space Echo, but set to single echo only (not to repeat). Have that repeat go back in another channel of the mixing desk, and then send the send of that back into the Space Echo, which will create the feedback repeating section. Adjust EQ on that channel to taste.


  • Registered Users Posts: 3,791 ✭✭✭electrogrimey


    I've never been able to get the sound right, but apparently a lot of it's down to resampling. This isn't too far off:



  • Registered Users Posts: 1,892 ✭✭✭madtheory


    Any detuned sawtooth/ PWM pad through a modulated filter (24dB LPF with resonance) with delay. The filter on most synths will do fine, you don't need a second one. Best to modulate with velocity I think, so you can play it. Failing that, do the sweeps afterwards. Filter the delay's repeats too, just a little. I think a Roland Space Echo would be too dirty and wobbly sounding for this sort of thing.

    Actually, if you have samples of old seventies string synths, those work great, instead of a synth pad.

    And those are not straightforward minor chords, there are minor and diminished sevenths in there too, as well as so called "suspended fourths" (which means change the third to a fourth) and sus 2. Basically, jazz chords.


  • Registered Users Posts: 5,672 ✭✭✭seannash




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  • Registered Users Posts: 749 ✭✭✭SteveDon


    Right lads

    thanks alot for the help, much appreciated.

    Thought id throw up some examples to let you see how im going about making these chords.

    just two quick things i threw together.

    http://soundcloud.com/steve-donaldson/boards-dub-chord-example/s-zWL99

    and

    http://soundcloud.com/steve-donaldson/boards-dub-chord-example-2/s-abXus

    Both used the same technique to get that chord sound.

    I used absynth and sylenth to get the original synth sound. (One of the chords is just a stab sample tho, thats in the first example)

    So basically i just put the chords 3 16ths behind where i wanted them in the sequence. With a lpf (the reso varies for each chord)

    Then the efx chain is as follows, firstly verb with quite a large size. Then a 3/16 beat delay effect with the mix at 100, thats why i put the notes three spaces behind because the original chord is not present in the mix it is only the feedback of the delay that is heard.

    Then another verb unit is put on after then an optional second delay. Then a phaser with 1/16 modulation but very low in the mix.

    I use the colour option on the delay automate and get a kind of filtering sound, i also use the cutoff on the original lpf.

    Then on the master channel i have an API-560 eq using a mastering oldies patch, the izotope vinyl effect, and a c4 stereo compressor.

    I think its sounding quite good, what do you reckon?


  • Registered Users Posts: 5,933 ✭✭✭Logical Fallacy


    SteveDon wrote: »
    I think its sounding quite good, what do you reckon?

    I think the second sounds nicer than the first...so definitely doing something right with your synthesis. :)


  • Closed Accounts Posts: 845 ✭✭✭red dave


    Sounding very sweet indeed Steve


  • Registered Users Posts: 5,278 ✭✭✭mordeith


    I think the second sounds nicer than the first...so definitely doing something right with your synthesis. :)

    I rather like the first one although I think it would be better if the delay was shortened a bit as it seems a little crowded (especially when the kick comes in). Lovely sound though :)


  • Registered Users Posts: 67 ✭✭oootini


    this is a pretty good approximation imo.

    http://www.divshare.com/download/16136891-5cb this is a self contained renoise song file. no external vsts required.

    you'll need to download renoise, but the renoise demo is only crippled by not being able to save tracks. you can bounce wavs, and rewire out to ableton or whatever you want.


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  • Registered Users Posts: 183 ✭✭djwelfare


    Hey all, thought this would be of some interest to some people on this thread!
    DeepChord finally comes to Ireland...

    Full details @ www.tinyurl.com/deepchordublin

    af3b69c2-b18b-460e-be06-ecc3bf8b9a28.png


  • Registered Users Posts: 899 ✭✭✭Dramatik


    One way they used to do it in the old days was make the chord by tuning the oscillators rather than playing the chord on the keyboard, you need a Synth with three oscillators.

    Osc 1 - 0
    Osc 2 - +3 semitones
    Osc 3 - +7 semitones

    You can add some detune or unison to your liking.

    Now back in the old days samplers had a lower bit rate so I suggest adding some plugin that will let you change the bit rate to a lower quality.

    Here's my last tip which is a little less known but for me it is important to achieve the authentic sound of that stab, once again you must think back in the days, these samplers had limited space and limited sampling time. So producers came up with a work around in order to save space on the sampler and allow them to store more samples. What they started doing was recording the samples at the highest pitch they could, the higher the pitch they played the sample in would in turn shorten the overall length of the sample thus saving them space/memory.

    Ok I hear you, ''thanks for the history lesson but what has all this got to do with making the stab?'' well the key here is when you pitch the sample of your stab back down to a usable pitch it adds artifacts to your stab, eg grain and subtle movements to the sound itself, amongst other things, this is the key to giving your stab that authentic feeling.

    You can experiment with adding different effects like chorus before you sample the stab, these can produce interesting movements when sample is played at a usable pitch. Of course this technique can be used on other elements in your track as well, this works very well with pads, so just experiment. I know I'm 7 years too late but it's a pretty common sound people wanna learn more about.


  • Registered Users Posts: 5,672 ✭✭✭seannash


    Threads 7years old


  • Registered Users Posts: 899 ✭✭✭Dramatik


    seannash wrote: »
    Threads 7years old

    Nobody likes a smart arse!


  • Registered Users Posts: 5,672 ✭✭✭seannash


    Dramatik wrote: »
    Nobody likes a smart arse!

    Easy man, simply letting you know you've resurrected a 7 year old thread. How is that being a smartarse?


  • Registered Users Posts: 5,278 ✭✭✭mordeith


    In fairness to Sean it's pretty much boards etiquette not to resurrect old threads


  • Registered Users Posts: 899 ✭✭✭Dramatik


    mordeith wrote: »
    In fairness to Sean it's pretty much boards etiquette not to resurrect old threads

    true but that is when the thread is obsolete and the information contained it is no longer useful to others, however this thread is not obsolete as it's contents are still useful to others even if it is 7 years old


  • Registered Users Posts: 8,930 ✭✭✭Doge


    Not like it's going to do much harm to a forum that's pretty much dead! ;)


  • Registered Users Posts: 7 kronox20022002


    2 saws played in minor


  • Registered Users Posts: 749 ✭✭✭SteveDon


    Logged onto this forum for the first time in years to post a track, hilarious to see this on the front page.

    If anyone is wondering I think I finally managed to nail it, 5 years ago.

    https://soundcloud.com/steve-donaldson/diffraction-textures-ep-previews

    lol


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