J. Anthony Allen and other sound designers share techniques for creating lead synths and keyboard textures. Learn routing oscillators to filters, shaping envelopes, adjusting resonance, and building arpeggiated pads through step-by-step examples.
Hey, everyone. Welcome to Ultimate Sound Design Recipe Book, Volume 2. In this one, we are going to be focusing on leads and keys. So we're going to be talking about lead sounds. A lot of you know what that means already, but that's like a synth sound that's really kind of. That really grabs your attention. It usually is relatively high, usually cuts through, might have a little bit of distortion on it. We're going to work through some of those and we're also going to work through some keys sounds, like some. Some keyboards, chord making sounds. Now, this class, like the other classes in this series of recipe books, is going to have a whole bunch of guests. We're going to hear from a lot of the same guests that we heard from in the last class, plus a few more surprises. So in this class, I've got super professional sound designers who have lent their time to come in and say, here's my favorite tricks. Here's how I make lead sounds. Here's how I make cool keyboard sounds, here's how I do all kinds of different stuff. So these experts are going to give you a really cool little look into how they craft some of their sounds. And that's why we call this a recipe book, right? Because they're going to say, you want that really sharp piercing lead. Here's how you get it. And they're going to show you how they dial it in. So it's a lot of fun. It's a great class. I'm really excited about it. Please jump in and we will see you on the inside.
That the oscillator is going all the way to filter one. And then we're going to turn that resonance down a little bit. Let's hear what this sounds like. Okay, so what we have to do is we have to make this low pass filter open and then close very quickly as the sound is played. So what we're going to do is we're going to take an envelope over here. I'm going to choose Envelope 2.
We can see the sound we're working with is located on this track. And here are my MIDI notes that are triggering that sound as it spans across the arrangement. Let's hear the sound soloed so we can hear it in more detail.
So when we get up to the main sort of crest of the track here, there's an arpeggiator and moving sort of fazy pad sound that comes in. I'm going to show you how I made this. We'll skip ahead a bit here. Let's go ahead and take a look at this track. So if we look at the clip first, you can see that I've actually laid out the key signature here when I was making the kind of the arpeggiated lines. Just makes it easier sometimes when you're working inside the piano Roll,
Sam.
