Pads often benefit from liberal doses of modulation effects such as chorus and flange. Move down to Filter Control, turn on Warm Drive, set Cutoff to around 60 Hz and increase Keytrack to 3. While you’re at it have a play with the filter cutoff value to hear the kind of subtler back-in-the-mix style pads you can achieve with lower values. Increase Cutoff to 7 (around the 800Hz mark), Resonance to 3 and Drive to 7. We’re after a warm, gritty sound, so move to the Filter A panel (not to be confused with Filter Control, below it) and click/drag to select the Lowpass filter under Filter Type (this is the first option, with the curve shown below – if you’re in any doubt, check the central info screen). With the basic pad sound nailed, it’s time to work on the timbre. You should now hear a wandering, moving sound as the phase of the oscillator is modulated. To set this up, go to the LFO 1 panel, select Phase A from the dropdown menu, then turn the knob alongside it up to the 2 o’clock position (around the 3.52 point).Īgain under the LFO 1 label, set Gain to maximum and adjust the Rate setting so that it’s somewhere between 10 and 11 o’clock (higher settings have a more dramatic effect). Most pads use some form of modulation to keep the sound shifting, typically using a low frequency oscillator as the modulation source. If the ‘hangover’ lag between chords is too long, pull back on the release. Under Amp Env A, increase attack (A) to 3 and release (R) to 7. Detune it by 3 cents, set Phase to 100 degrees and turn on the Inv button.Ī typical pad patch starts and ends slowly. To fatten the sound and inject a first taste of analogue goodness, detune Oscillator A1 by around 4 cents (4.05), turn the Phase dial up to around 300. This is a good foundation for a basic pad sound. Now move to Oscillator A2. Increase Voices to 7 and select a sawtooth wave by clicking and dragging over the green backlit Wave graphic (you’ll know you’ve got a Saw by reading the display in the central info panel). Increase the number of Voices allocated to Oscillator A1 to 5 and lower the pitch by one octave. Under Polyphony (top left), increase the number of voices to 10. The MIDI pattern with this blank Init patch sounds like this: Each chord is underpinned by bass notes in lower octaves for a bigger sound. You may wish to omit them in your own arrangement to leave space in the mix for other elements.Ĭreate a new sound in Sylenth by selecting Init Preset under Menu. Here’s an example of the sound we’ll be making: In our latest Synth Secrets we’re using Sylenth1 to create a detuned pad sound with heavy modulation. Synth Secrets is a series of programming tutorials in which we show how to make a range of classic and new synth sounds using plugins such as Massive, Sylenth1 and Predator.
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