| Pop music is often described in cycles: retro music | | | | Use the keyboard tracking parameter in |
| becomes cool, then gets reprocessed and | | | | moderation, as you only want the filter to open |
| digested by listeners, until the next big thing | | | | up some as you play higher up the keyboard. This |
| comes along. While the 80's are (some would say | | | | is designed to emulate the characteristic muted |
| thankfully) long behind us, the sounds from classic | | | | sound as you play higher notes on many brass |
| records from the era have likewise experienced a | | | | instruments. Other parameters related to the filter |
| reincarnation. The second installment in this series | | | | will be discussed below, so ignore any other filter |
| aims to show how to most easily recreate a | | | | modulation parameters (envelope, LFO, etc.) for |
| classic sound heard on many famous songs from | | | | now. If there is a highpass filter, pull it up in |
| the 80's through today: the unmistakable sound of | | | | moderation to thin out the brass some. This is |
| analog brass. | | | | optional, but often makes a big patch sit better in |
| While a sample-based approach is often most | | | | a mix. |
| useful for some applications, there are times | | | | On to the envelopes. If you are using a |
| when you need that ambiance that can only be | | | | two-envelope machine, so much the better, but |
| achieved through using traditional subtractive | | | | really only one envelope is neccesary to achieve |
| methods. Let's go step by step through the | | | | many of these sounds. As technology has |
| programming process. | | | | progressed further, often times one is tempted |
| First, let's establish default settings: Lowpass filter | | | | to use more oscillators, more filters, effects, etc. |
| all the way open (100%), envelopes off, and | | | | to make synthesizer-based music. |
| whatever waveform is selected by default. By | | | | However, working within the limitations offered by |
| the way, these sounds should all be achievable on | | | | some of this now-ancient equipment can still result |
| a modern softsynth or any piece of polyphonic | | | | in very satisfying sounds, if a bit simple by |
| hardware (although for a monosynth lead brass | | | | modern standards. With this in mind, set your |
| sound the same settings will apply. | | | | filter envelope to have the following parameters: |
| As far as the oscillators are concerned, a rich | | | | medium attack (about 35-50%), a fairly quick |
| waveform is best. Start with a sawtooth | | | | decay (around 15-20%), sustain at half, and a |
| waveform, and if one (or more) oscillators is | | | | moderate release (depending on your playing style |
| available, set them also to this waveform. It | | | | and needs, adjust this to quicker values for a |
| should sound nice and bright. For a two-plus | | | | more percussive, horn stab-type sound). Play |
| oscillator synth, detuning each oscillator by a few | | | | around with the attack and decay settings to |
| cents (5-10 maximum) will make a bigger, denser | | | | optimize your envelopes (which vary in terms of |
| sound. This is because the oscillators will now be | | | | speed) to get a sound with a quick swell in |
| beating against each other, which our ears | | | | brightness, followed by a more muted sustaining |
| interpret as adding harmonic content. | | | | sound. |
| Remember to detune one oscillator up and the | | | | Now, for LFO modulation(may also be called |
| other down (or in a similar fashion for more | | | | Vibrato), you may want to use a small amount of |
| oscillators) in order to make the mixed oscillators | | | | modulation on the oscillator pitch. If a delay |
| sound in tune! | | | | parameter is available for the LFO, pull it back to |
| Now for the filter. This is the most critical part of | | | | about 50%, so as to smoothly transition from an |
| the classic 80's brass sounds, as the harmonic | | | | initially in tune sound, to a progressively more |
| content tends to be an important aural "cue" for a | | | | quavery sound as you continue to hold notes |
| listener that makes a sound more readily | | | | down. This can add a bit of 80's cheese, so use it |
| identifiable. Set the cutoff at about 50%, with a | | | | tastefully. Also, if a chorus is available, brass |
| mild (10-20% maximum) amount of resonance. | | | | sounds can benefit greatly. Enjoy, and hopefully |
| These parameters, and those which follow, are all | | | | these instructions will put you on the right track |
| subject to taste, of course. | | | | to achieving some great 80's brass. |