What instrument was this sound made from in Cubase?

What instrument was this sound made from in Cubase?

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Hi @bh7825 and welcome to the Cubase forum.

Coincidentally, this is a type of sound effect I also have been looking for, but I haven’t checked any Steinberg Vsti’s. Looks like I’ll have to. Maybe it comes under FX. It could also possibly, be an effect from one of the Groove Agent Se kits.

Lets see if anyone knows.

That kinda sounds like the test signals used to measure frequency response.

For example, when doing the calibration for Sonarworks they use a different, but similar, sound to perform the frequency sweeps.

I’m sorry, but no.
It’s not a simple sine sweep (chirp) for measurement purposes.

Where did you find this sound?

Not sure whether the OP is referring to a Steinberg instrument in Cubase or some third party Vsti, but does anyone know of any Steinberg Vsti that could possibly produce such a sound?

Since Halion is a sampler, it could produce nearly everything…

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Thanks for that.

I do have Halion 6 but haven’t really used it, so not too familiar with the control’s etc, but I can work at that.

Do you think this type of sound with movement could be accomplished by editing a particular HaLion preset, or would a (for instance) sine wave sample be a better route?

Sorry, but sound design in this category has always been a bit of “how the hell did they get it to do that?”, what with LFO’s and what not and this and that and all the rest of it.

And thanks for your insight.

Incidentally, I do have the WOW TimewARP 2600.

If you have some sort of Arp 2600 that sound is somewhat like the Edgar Winter Frankenstein Patch which I’m sure you could look up.

It also sounds sort of FM DX7 type sound. Like some of the water droplet patches.

It could also be a combination of sounds/patches.

Fwiw, in Reference 4 at least, more is used than a basic sine sweep or chirp. Also, for different reasons, if you can’t complete all the 30-some location positions, they include 2 alternate location tones where the user can repeat the process. In my situation, the default did not work, and always errored at the same location. Using one of the alternates solved that issue.

So I’ve delved a little into to some ARP 2600 and Edgar Winter’s Frankenstein tutorials (thanks @Tom_B). Looks like a ton of fun.

@Greg_Purkey, What Synth are you using? Hardware or a VSTi?

I’m assuming you’re referring to the VCF’s, VCO’s, VCA’s, ADSR, LFO etc, that may need to be interconnected and tweaked?

What does this refer to?

Just trying to get a general picture before I dive in

Thanks.

No, none of that. I’m referring to Sonarworks Reference 4, and the test tones it uses. Carry on…

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Another thing you can do is try to find the guy that invented NI Absynth. He is off the chart when it comes to programming and patches. I can’t recall his name, but he has a web site and sells patches, etc. He’s also or was on a couple forums but I can’t recall which one’s. Maybe the NI site.

I think that sound is an edit. a couple repeats, then a lower key repeat, then with the last little part being a different sound. Then again, I’ve heard some strange sounds come out of frogs, birds, whatever.

Also those guys that have modular synths like the Cherry Audio stuff… a lot of which is free or really cheap, but someone that really knows what the varied modules do would have a good idea how to get the sound on a variety of synths.

Brian Clevinger is the guy that wrote Absynth. You really should look him up if you are trying to learn sound design, synth programming. Not sure what he’s doing these days.

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LOL. I tried so hard to figure out, what on earth are you talking about :rofl:

Thanks.

I had a Akai offer of a ARP2600 emulation for a couple of quid some years ago which included all the original patch books as presets and they definitely had stuff like that.

Thanks @Tom_B. Yeah, I’m really gonna dig into this Synth and Sound Design side of things and the info you have provided has been really helpful.

And thanks to all the contributors, I now view Synthesisers in a very different way.

This is the original patch book that came with the ARP 2600. Look at those patches in the sound effects section. Downloads | ARP 2600 FS - 2600 Patch Book | KORG (USA)

In case you don’t know… the ARP 2600 is a modular synth that is patched together in a default manner. No cables. The item that a slider is using is written under the slider. Also each section or module is outlined. When you insert a cable you often run the output of another module and break the pre-patched connection for this new signal path. So it’s a good method to ‘see’ the signal flow.

So for instance the Osc run into the Filter . So you adjust the Osc to certain Freq and raise their sliders in the Filter section. Filter Sliders 2,3,4 are prepatched to Osc1,2,3. Now suppose you take the output of the Filter and patch it back over to the RingMod where is says Vco1 and raise the Filter Slider 1 Ring Mod. You will get a very different sound. Normally The Ring Mod would be creating whatever VCO1 and VCO 2 are doing. But now with that patch and by raising various things into teh filter such as VCO 2,3, Noise, etc. You get a very different signal going into Ring Mod. and it’s now operating the Filter as well plus taking signal out of it.

I ------highly---- recommend you put a brickwall filter on your Stereo Out. Or set Cubase to shut off at lower than 6dB or Both. Be careful with the resonance slider.

Bottom Line… if you can make a patch in the 2600 and don’t know why a certain sound comes out, or doesn’t come out, you can back track and learn about the module you patched in.

Go here … https://www.korg.com/us/support/download/
Click top link Synths… All the 2600 owners manuals are there. I would get the Odyssey ones also. But at least do the 2600 basic patch walk through to get familiar with the modules. All that will translate across many synths.

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@Tom_B. Great stuff, thanks for the links.

And no, I didn’t know that the ARP 2600 was a modular Synth patched together in a default manner, no cables. I didn’t know much about these type of synths, period. My genre of music just never took me there and the only synth sound’s I used were just presets.

After looking through the PDF patches, especially the ARP 2600, looks like it would benefit the TimewARP VSTi if it was MIDI mapped.

With all the info you have provided, I’m starting to get the theory of things, and am very much looking forward to experimenting in the new year.

Thank you Tom, for taking the time out to educate me on this topic.

Very much appreciated.

No problem. That 2600 is a good place to start as it has all the basic building blocks and it’s not too simple. Plus there is lots of info. That owners manual will walk you right through it. If you looked at something like Absynth 5 you would be lost. If you learned at least some of how the 2600 is working you could ‘find’ some of those things in Absynth. Same for a lot of other synths like maybe the MiniMogue. In fact that would be a good second synth. The features are very similar. If you learn something on one, you should be able to recognize it on the other. Both have 3 Osc with many waveforms each. an ADSR, an amp/mixer section, a filter section. Those are the core blocks you need to learn. Then the 2600 has some extra stuff and more complex patching possibilities. I think there are some free MiniMogue plugs out there. I guess you think of the 2600 as semi-patched modular. and the MiniMogue as a fully-patched modular. Both are a collection of the early basic synth modules in a box. If you switch off to something like a DX7 FM synthesis, that’s a whole different animal.

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Duly noted.

Thanks Tom.

You might be interested in this video. I stumbled on it today by accident.

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