Making Synth Stabs

Here is a neat patch that is very simple but fine-tuned. Good quality patches are usually so because their parameter settings were dialed to "sweet spots" by a trained ear rather than set to coarse values that seem to work in a similar patch. I chose to walk through the patch in Razor, but you can make it in just about any subtractive synthesizer with auxiliary envelopes and an LFO. The basic timbre comes from a low-pass filtered sawtooth wave with a sawtooth LFO controlling the filter cutoff. It is a very versatile patch.

~ Razor Stabs PATCH (drums from SoundBridge Sample Pack)

~ Massive Stabs PATCH

Oscillator

There is only one audible rate oscillator in this patch. It is a standard sawtooth wave at full amplitude. It is routed into the filter completely.

Filter

Adjust the low pass cutoff point to get a bit of bite in the sound, but mostly bass. You will need to turn down the "slope" parameter because a steep slope may add some undesirable crunchy content once the modulation is set up. The "Boost" parameter may need to be turned up a little. This increases the effect of the filter - which is suitable for this particular sound because the filter influences its character more than any other module. On other synths, this parameter may be called "drive." As you can see below, the cutoff parameter is modulated by LF1, with EN2 modulating the range of that LFOs effect. I will go over this in more detail later.

 

Amp Envelope

It's a pretty standard ADSR shape. This determines the contour of the first initial trigger of the synth. It has nothing to do with the contour of the "stabs." Just ensure the release time is not too long (so the modulation doesn't continue "stabbing" after the note is released).

 

FX

I will review the FX section before modulation since the dry/wet parameter here is modulated. Put some reverb on the output, set the decay to the longest time you think you'll need, and bring the dry/wet down to the point where you must listen carefully. As you can see below, the dry/wet parameter is modulated by EN2 as well.

 

LFO 1

This LFO is synced to the DAW tempo and is being used to modulate the filter cutoff point at a dotted 8th note rate in a sawtooth contour. Adjust the range of control on the filter until you get a soft "biting" sound. Start soft because this range of modulation opens up as the attack of the second envelope rises.

 

Modulation Envelope

Envelope 2, as I mentioned in the filter section, is being used to open up the range of control LFO 1 has on the filter cutoff. Lengthen the attack time to a point where the LFO gets to the broadest range of control at the end of the longest sustained note in your sequence. The sustain should probably be at max (so the range of modulation doesn't start decreasing after the attack). If the sustain is at max, it doesn't matter what the decay time is (there is no difference in level between the end of the attack and the sustain phase - therefore, it doesn't take any time for the level to "decay" to the sustained level). The release time should match the release time of the amplitude envelope. Envelope 2 is also controlling the dry/wet mix on the reverb. As the attack rises to the sustain level, the sound becomes more affected by the reverb.

 

Voicing

Turn on the "glide" or "portamento" function on your synth (if there is one). This causes the pitch to slide from one note to another rather than changing abruptly. Drastic settings for "glide" can sound goofy, so dial it in tastefully. Polyphony is an elegant tool when working with deep, synced modulation because you can create what sounds like arpeggios by adding notes to the chord at different times.

 

Automation

Automating the LFO rate is an expeditious way to generate rhythmic variation and fills. It gives the sound a more dynamic and commanding presence. If you're feeling experimental, try using LFO2 or an envelope to control the rate of LFO1.