Sound Design Tips

AKS1 Sound Designer Brice Beasley shared these tips for creating your own sounds:

Experiment with the extreme ends of the BPM range (1 - 200).

For a pure sine wave use the FM Oscillator with no modulation. You could also achieve a pure sine wave by lowpass filtering a triangle wave (DCO), but that commits the entire patch to being lowpass filtered. Using the FM Oscillator will allow the filter to remain open for additional harmonics via the DCOs, sub or noise oscillators while maintaining the pure sine.

Modulate the reverb for rhythmic pumping / sidechain effects. Set “SIZE” to a high amount (80-90% range) with the “MIX” set to 100% wet. Then use the mod matrix to assign various modulations to the “REVERB” parameter.

Experiment with odd number step lengths (3, 7, 9, etc.) on the sequencer.

Experiment with different values on the “INTERVAL” knob when using the arpeggiator.

Tuning scales. Set an arpeggiator pattern to “HOLD” and then audition a variety of tuning scales. Some will be subtle, some more drastic, all worth exploring.

For a pseudo flanger effect, set both DCOs to a Saw Wave at the same octave, and then apply a very small amount of detuning (somewhere around -0.20hz) until you begin hearing the flanging effect ...

... To add more width and movement to the above effect, set Phaser “MIX” to 100% wet with “NOTCH” and “FEEDBACK” to 0%. Adjust the “SPEED” dial as needed. It’s subtle but you’ll hear the sound open up a bit in the stereo field. This can be useful in a variety of situations, not just as an add-on to the pseudo flanging effect mentioned above.

Use the Bitcrusher to add subtle texture and crackle. This works best on brighter, buzzier timbres. Rotate the “BITRATE CRUSHER” knob (counterclockwise) ever so slightly. It might take several attempts to get the least amount of reduction possible. The sound your listening for is more akin to vinyl crackle than bit reduction. It really depends on the underlying patch and timbres, but this effect can be useful to add a layer of dirt and grit to an otherwise clean sound.

Tap and drag envelope shapes to adjust—as opposed to using the individual knobs. This can offer a finer level of control over the individual stages. Additionally it tends to feel a bit more organic.

Fast sequences + slow LFOs

Slow sequences + fast LFOs

Try a minimalist approach. Limit yourself and see how far you can take a patch that uses just the Sub Oscillator. Then do the same with just the Noise Oscillator ...

... Then try the opposite ... give it everything ... extreme settings ... then craft something compelling from there.

Pay attention to the scope. Particularly if you are new to synthesis and want to learn about basic waveforms and how to identify them visually and audibly. Hold a C2 while auditioning the various DCO waveforms, noting their visual signature on the scope.