BEAT BIBLE BLOG
COMMANDMENT 2
Commandment 2 - Thou Shalt Learn the Basics of Sound Selection
Written by Kamil Cejmer - August 25th 2023
Commandment 2 - Thou Shalt Learn the Basics of Sound Selection
(An introduction to sound & synthesis)
Welcome to the second commandment.
This is an exciting one, and it marks the first time in our journey where we dive into hands-on, practical aspects that you can apply almost immediately after reading.
In this commandment, we will explore two essential areas: sound selection and sound synthesis.
irst, we'll guide you on how to identify good sounds and/or samples, explain what to look out for when selecting sounds, and how to judge the quality of the sound.
Then, we'll move on to teaching you the workings of a simple 3-oscillator synth, and how to use it to generate fundamental sounds like bass, drum, lead, and keyboard.
Table of Contents
2.0 - Introduction to Sound & Synthesis
2.1 - Understanding Sound Selection
2.2 - Identifying Good Sounds/Samples
2.3 - Understanding Synthesis
2.4 - Making Use of a Simple 3-osc Synth
Get the Book to Unlock:
2.5 - Commandment 2: Practical Exercises
2.6 - Commandment 2: Test Your Knowledge
2.7 - Useful Sources
2.0 - Introduction to Sound & Synthesis
Let's embark on the adventure of sound selection and synthesis.
I've meticulously structured the order in which the material will be presented. In our first commandment, I introduced you to the world of music production and painted a picture of the background and history of this incredible craft.
Now, in the second commandment, I'm focusing on sound selection as a general concept, placing it at the forefront, and treating synthesis as a vital subset of this category.
In my view, sound selection is the cornerstone of a good mix. And a good mix is the stepping stone to a masterful piece of music. In essence, sound selection is the first building block for crafting a magnificent musical creation.
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There's much more to sound selection than meets the eye, and I'm here to unravel what it entails. In this commandment, you'll not only grasp the basics of synthesis but also learn how to wield a 3-oscillator synth to synthesize your very own soundwaves.
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This skill is an invaluable aspect of music production. You won't always stumble upon the perfect preset or sample that resonates with your creative ideas. The ability to synthesize your sounds gives you immense control and creative freedom. The mastery of this skill can propel you miles ahead in your craft.
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Do not underestimate the power of synthesis. It will carry you far, especially when you consider that many beginner producers overlook this skill. Embrace it as early as possible, and you'll leapfrog ahead by months or even years. The key to unlocking your unique sound lies within these pages, and it starts with understanding the fundamentals of sound selection and synthesis.
This is how sound works:
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The speaker moves in and out. In = air compression. Out = air rarefraction.
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The movement of main sound source creates vibrations in the air which travel over a particular distance of time, which determines the length of the sound. The variation in air pressure makes the vibration of air possible. Your ears pick up the vibrations using your eardrum, where the vibrations gets translated in your brain for you to perceive it as a sound.
What is Sound Selection?
Sound selection is a pivotal process in music production where the producer carefully chooses the specific sounds that will be integrated into a track. These sounds can vary widely, encompassing differences in genre, mood, signal type (such as analog or digital), instrument, and so on. Essentially, the possibilities are boundless, and you can utilize any sound in production.
The essence of sound selection is quite straightforward: we pick the most fitting sounds to be employed in our production. However, it’s a task that requires careful attention, discernment, and sometimes, a touch of creative intuition.
Here are some practical examples to illustrate what sound selection might entail:
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Sampling from Classics: A producer might spend hours listening to old vinyl records, meticulously noting down specific timestamps where an intriguing sample is discovered. We'll explore later in this chapter what makes a sample or sound "good enough" for usage.
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Navigating the Drum Sample Loop of Doom: If you've dabbled in production, you might have found yourself ensnared in the endless quest for the perfect drum sample, scrolling tirelessly through a one-shot drum library to find that elusive, perfect snare for your project.
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Exploring Preset Libraries: This could involve going through a vast preset library, attempting to unearth the ideal sound that resonates with the melody you're composing.
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Crafting Your Sound with a Synthesizer: Sometimes, the exact sound you need must be crafted, not found. This might mean manipulating a synthesizer to generate a very specific sound that you have in mind.
In sound selection, the choice of sounds isn't just about what "works"; it’s about finding those unique sonic elements that align perfectly with your vision, the emotion you want to convey, and the overall aesthetic of the track. It's a subtle art that blends technical knowledge with creativity, and its mastery is a defining trait of successful producers.
"Crate digging" is a term that resonates with many producers. It's an activity where producers sift through crates of old vinyl records, searching for hidden gems to sample in their music. This vintage approach to sampling is a treasure hunt of sorts, filled with endless possibilities of discovery. From dusty jazz records to obscure funk grooves, the crates can be a goldmine for creative inspiration.
Despite its old-school charm, crate digging remains a popular and relevant practice in modern music production. The allure lies in its ability to unearth unique sounds and textures that can add a special touch to a track.
Warning: Mind the Legal Boundaries
While crate digging can be a thrilling creative endeavor, it also comes with legal considerations. Not all that glitters is free to use. Some artists and their works are protected by strict copyright laws, and sampling without proper clearance can lead to legal issues.
Always make sure to understand the legal landscape and obtain the necessary permissions if needed. When in doubt, consult with a legal professional or use sample libraries that are specifically designed to be royalty-free.
Sound Synthesis - A Gateway to Limitless Possibilities
Sound synthesis is a pivotal aspect of modern music production, providing artists with the tools to create sounds beyond the constraints of traditional instruments.
What is Synthesis?
According to Simon Fraser University, sound synthesis is "The electronic production of sound where no acoustic source is used." This definition captures the essence but also hints at the diversity within the world of synthesis.
hile some synthesizers are purely electronic, others are sample-based, allowing for manipulation of existing sound sources into something entirely new.
There are various types of synthesizers, each with its unique characteristics and capabilities. We'll delve into these further in sub-chapter 2.3.
Digital Vs. Analog - A Matter of Taste
Understanding the difference between digital and analog sound signals can help you make informed choices in your production. Both have their place, but they provide distinct sonic characteristics.
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Analog:
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Rich saturation, often perceived as more "organic."
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Typically offers a warmer, fuller sound.
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Unpredictable and nonlinear, contributing to its unique charm.
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May require expensive hardware for true analog sound production.
Digital:
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Often more precise and controlled in sound generation.
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Predictable and highly accurate, making it easier to achieve specific results.
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Offers a plethora of tools and capabilities due to its digital nature.
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Generally more affordable and widely accessible.
The choice between analog and digital is often a matter of artistic vision, budget, and individual preference. Embracing both worlds can offer a broader palette and endless possibilities in crafting your unique sound.
Analog waveforms resemble smooth, continuous waves, reflecting the natural sound. Digital waveforms, on the other hand, appear as "staircases," a result of the digitization process.
his distinction can make analog synthesizers desirable for their higher-quality sound output, transmitting a richer signal to your DAW.
2.1 - Understanding Sound Selection
​Let's delve into sound selection, exploring types of sounds, genres, and how you can characterize sounds for better understanding and application.
Why Sound Selection Matters
You've previously learned the processes and chronological order of music production (Commandment 1).
Sound selection often happens outside of this process or behind the scenes, allowing producers to categorize sounds and have them ready instantly once production begins.
This is highly advisable, saving time and increasing overall music production efficiency. By taking separate time to listen to samples and loops, you can create a more comprehensive library for yourself.
Now, why is sound selection crucial in music production?
The main reason is the need to identify sounds that are usable, legal, and mix-worthy. Ignoring this early stage can lead to many problems, costing precious time. Let's explore these aspects further:
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Usable: The sound must be high quality, non-clipping, and free of unwanted noises and artifacts.
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Legal: Ensure the sound is free to use legally or acquire necessary documents if needed.
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Mix-worthy: Choose sounds that already fit your mix, reducing the need for heavy mixing.
Refer to sub-chapter 2.2 for an in-depth look at quality control in sound selection.
Categorizing Sounds
It's also essential to categorize samples perfectly for efficient use. Here's how you can categorize samples:
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Genre: Defines the primary characteristics of a sample, helping you stay within a musical lane.
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Mood: Unlike genre, mood combines tempo, musical key, chords, etc. (Include a chart on how to find moods here).
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Root Key: Helps you find the right sample for the desired key, though altering keys is possible.
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BPM/Tempo: Though you can change tempo, categorizing samples by BPM helps you find the right fit.
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Instrument/Source: Sort by instrument for quicker access to specific sounds.
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Legality: Categorize samples based on legal status, including links to legal information or licenses.
Categorizing not only ensures the usefulness of samples but saves significant time and effort, streamlining your creative process.
2.2 - Identifying Good Samples
Understanding the categorization of samples sets the foundation for quality control, the next essential step in the process. Let's explore the essential elements to consider when identifying high-quality samples:
1. Fidelity
Fidelity refers to the accuracy and quality of sound reproduction. A good sample should have a bit-depth of at least 24 bits and a sample rate of 44100 Hz or higher. While these numbers may not always matter significantly, it's crucial to avoid lower-quality samples, as they can degrade in sound quality, especially when the gain is boosted.
2. Clarity
Clarity encompasses the cleanliness of the sound. Listen for any background noises or interferences that might affect the quality of the sample in the mix. A clean and transparent sound is often preferable, providing flexibility and precision in production.
3. Usability
Usability is about how well the sample fits your specific project. Here's what to check:
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Loop Points: Identify where you can start the sample and ensure that it loops properly. Beware of samples with fluctuating BPM, as they may require additional editing.
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Time Signatures: Ensure the sample's time signature aligns with your project. A normal time signature is usually 4 beats per measure, 4 measures per bar, but samples can vary.
4. Aesthetics
Aesthetics relates to the sample's tonal quality, timbre, and overall fit with the creative direction of your project. Does it have the right sound, texture, or emotion you're trying to convey? Carefully choosing samples that align with your vision helps create a more cohesive and expressive piece of music.
Quality Control - Legal
Now that you've grasped the principles of quality control, it's crucial to understand the legal side of things when selecting samples. This may seem daunting, but with some basic knowledge, you'll be on the right track.
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​1. Copyright​
Always ensure you have the rights to use the sample in your project. This means knowing who owns the rights and what the usage permissions are.
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2. Licensing Models
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There are different licensing models, and each has its own conditions:
Royalty-Free: These samples can usually be used without additional fees. You buy it once, and you can use it forever.
Rights Managed & Creative Commons: Check the specific conditions and limitations. Some might allow free usage, while others might require payment or have restrictions on commercial usage.
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3. Risks and Considerations
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Infringement: Using samples without proper rights could lead to legal trouble. Always check the source and the licensing details.
Clearance: If you're unsure about a sample's legal status, it's wise to seek clearance or permission. Better safe than sorry.
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Remember, these points are just the basics. If you're planning a commercial release, it might be worthwhile to consult with a professional in the field of music law to make sure all bases are covered. But for most producers, understanding these principles will keep you on the right path and allow you to focus on what you do best: creating amazing music.
2.3 - Understanding Synthesis
In the broad spectrum of music production, synthesis is a cornerstone that paves the way to create and manipulate sounds.
As we venture into this sub-chapter, you'll not only discover the essentials of synthesis but also explore a wide array of synth types. Ready to dive in? Let's embark on a journey that will subsequently lead us to crafting fundamental sounds like kick and snare drums, (sub) bass, keyboards, pads, and more in section 2.4!
The Basics of Synthesis
Understanding synthesis is akin to unlocking a universe of sound possibilities. While this is a guide for producers, not sound designers, it's vital to demystify the underlying principles of synthesizers. So, why is this understanding so crucial?
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Efficient Learning Path: Recognizing the basic functions of various synthesizers saves you from the tedious task of learning each instrument individually. It's a streamlined approach, providing you the key to virtually any synth you encounter.
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Universal Skill: Think of it like learning to drive. Rather than honing your skills in one specific car, understanding the general principles of driving enables you to adapt to any vehicle, notwithstanding minor differences.
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Foundational Knowledge: Grasping the fundamentals of a standard synth lays the groundwork to navigate the multifaceted realm of synthesis. Let's break it down further to uncover these foundational aspects.
The Basics of Synthesis - Understanding Your First Synth
(Introduction to a 3-oscillator Synth)
Before diving into various types of synthesis, let's explore a 3-oscillator synth, a common starting point for many producers.
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Oscillators: Sound begins with three oscillators, each generating a waveform (e.g., sine, saw, square). These can be mixed and tuned to taste.
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Filters: The combined waveforms pass through filters to remove or emphasize certain frequencies.
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Envelopes: Envelopes shape the attack, decay, sustain, and release (ADSR) of the sound, giving it dynamics.
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LFOs: Low-frequency oscillators (LFOs) can add modulation, like vibrato or tremolo, to the sound.
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Effects: Optional effects like reverb or delay may be added to enhance the sound.
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Output: Finally, the processed sound is sent to the output, and we hear the final result.
This basic understanding of a 3-oscillator synth serves as a building block for the more complex synthesis methods we'll cover next. It's the equivalent of learning to drive; understanding the basic controls enables you to quickly adapt to different vehicles, or in this case, different synths.
Types of Synthesis
There are many types of synthesis which work in their own, unique way. Here's an overview of all types of sound synthesis.
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Subtractive Synthesis
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What It Is: Removing (subtracting) certain frequencies from a sound using filters.How It's Used: Common in analog synths, often used for rich, warm sounds.
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Examples: Moog Minimoog, Roland Juno series.
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Additive Synthesis
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What It Is: Building a sound by adding individual sine-wave harmonics together.
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How It's Used: Can create complex timbres and tones but is computationally demanding.
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Examples: Kawai K5, Hammond Organ.
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FM (Frequency Modulation) Synthesis
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What It Is: Modulating one waveform with another to create complex sounds.
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How It's Used: Known for sharp, digital sounds, great for metallic or bell-like tones.
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Examples: Yamaha DX7.
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Wavetable Synthesis
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What It Is: Utilizes a table of different waveforms that can be moved through to create evolving sounds.
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How It's Used: Known for lush, evolving pads and aggressive leads.
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Examples: Native Instruments' Massive, Serum.
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Granular Synthesis
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What It Is: Breaking sound into tiny grains and playing them back in different ways.
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How It's Used: Great for atmospheric and textured sounds, often experimental.
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Examples: Granulator II, Clouds by Mutable Instruments.
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Physical Modeling Synthesis
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What It Is: Simulates the sound production of physical instruments.
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How It's Used: Often used for realistic reproductions of acoustic instruments.
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Examples: Yamaha VL1, Applied Acoustics Systems' Chromaphone.
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Sample-Based Synthesis
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What It Is: Utilizing recorded audio samples as the basis for sound creation.
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How It's Used: Can be used to reproduce real instruments or create new sounds.
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Examples: Korg M1, Akai MPC.
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Hybrid Synthesis
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What It Is: Combines two or more of the above methods.
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How It's Used: Allows for more complex and diverse sound creation.
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Examples: Korg Kronos, Arturia Origin.
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2.4 - Making Use of a Simple 3-osc Synth
Now that you understand the basics of synthesis, and how a basic synthesizer really works, you are ready to make some of your own sounds!
Fundamental Components (3-Oscillator Synth)
To let you understand 3-oscillator synths better, I will be using the most popular 3-osc synth: the MOOG "Minimoog", but a digital recreation of it made by Arturia (Mini V3)
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To understand how this type of synthesizer works, it is advised to take a look at it's build and workflow, which is in most cases put together in a clever and logical way, making it easier for you to be able to quickly understand it.
At a first glance, we see that the synth is split up by a few sections.
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1 - Controllers
Change the overall pitch, glide speed, and modulator mix of the input signal in this section.
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2 - Oscillator bank
Where the magic happens. This panel contains all three oscillator controls.
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3 - Mixer
Turn oscillators on/off and manipulate their volume in this panel, along with some extra's like a noise generator.
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4 - Filters & modifiers
At the top, you have some filter controls. At the bottom, you have ADSR controls.
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5 - Output
Change the overall pitch and volume of the main output signal.
Now that you know what each panel does, we can proceed with some guides on basic sounds. You can use this guide as a starting point to then experiment with your own sounds.
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Below you will find a guide for a number of basic sounds, in order of the panels that we just described.
Kick
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Controllers: Set pitch to the desired note of the kick.
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Oscillator Bank: Select sine wave on Oscillators 1 and 2, tune both to a low frequency like 50-60 Hz.
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Mixer: Turn Oscillator 3 to the off position, adjust Oscillators 1 and 2 to equal volume.
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Filters & Modifiers: Use a low-pass filter, set the Attack to 0, Decay to around 200 ms, Sustain to 0, Release to 100 ms.
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Output: Adjust volume to taste.
Snare
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Controllers: No specific adjustments needed here.
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Oscillator Bank: Set Oscillator 1 to a white noise, Oscillator 2 to a square wave.
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Mixer: Balance volume between noise and Oscillator 2.
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Filters & Modifiers: Set Attack to 0, Decay to 100 ms, Sustain to 0, Release to 100 ms.
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Output: Adjust volume to taste.
Closed Hat
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Controllers: No specific adjustments needed here.
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Oscillator Bank: Set all Oscillators to off, only use noise generator.
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Mixer: Adjust noise generator to desired volume.
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Filters & Modifiers: Use a high-pass filter, set Decay to 50 ms.
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Output: Adjust volume to taste.
Open Hat
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Controllers: No specific adjustments needed here.
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Oscillator Bank: Set all Oscillators to off, only use noise generator.
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Mixer: Adjust noise generator to desired volume.
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Filters & Modifiers: Use a high-pass filter, set Decay to 200 ms.
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Output: Adjust volume to taste.
Cymbal
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Controllers: No specific adjustments needed here.
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Oscillator Bank: Mix white noise with a metallic waveform on Oscillator 1.
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Mixer: Blend noise and Oscillator 1 to taste.
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Filters & Modifiers: Use a high-pass filter, set Decay for noise to 50 ms, metallic sound to 300 ms.
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Output: Adjust volume to taste.
Bass
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Controllers: Set pitch to the desired note of the bass.
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Oscillator Bank: Use saw or square waves on Oscillators 1 and 2.
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Mixer: Blend the Oscillators to taste.
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Filters & Modifiers: Use a low-pass filter to shape the tone, set the ADSR to desired shape of the bass note.
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Output: Adjust volume to taste.
Sub Bass
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Controllers: Set pitch to the desired low note for the sub-bass.
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Oscillator Bank: Use sine waves on Oscillators 1 and 2, tune them to a very low frequency.
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Mixer: Turn Oscillator 3 to off, set Oscillators 1 and 2 to equal volume.
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Filters & Modifiers: Use a low-pass filter, set ADSR to give a smooth and sustained sound.
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Output: Adjust volume to taste.
Digital Keys
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Controllers: Set pitch to the desired note for the keys.
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Oscillator Bank: Use square or saw waves for a bright, digital sound in Oscillators 1 and 2.
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Mixer: Balance the Oscillators according to taste.
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Filters & Modifiers: Use a low-pass filter to tame the brightness if needed, set the ADSR for a quick Attack, short Decay, moderate Sustain, and short Release.
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Output: Adjust volume to taste.
Lead
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Controllers: Set pitch to the desired note for the lead.
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Oscillator Bank: Use saw waves for a thick sound, or square waves for a more hollow sound in Oscillators 1 and 2. Detuning one slightly creates a richer sound.
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Mixer: Balance the Oscillators according to taste.
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Filters & Modifiers: Use a low-pass filter with some resonance for character, set the ADSR for a quick Attack, long Decay, moderate Sustain, and longer Release for a tail effect.
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Output: Adjust volume to taste.
Pad
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Controllers: Set pitch to the desired chord or note for the pad.
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Oscillator Bank: Use a combination of waveforms across the Oscillators for a rich sound, such as saw, triangle, and square.
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Mixer: Balance the Oscillators to create a lush, full sound.
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Filters & Modifiers: Use a low-pass filter to create a smooth sound, set the ADSR for a slow Attack, long Decay, high Sustain, and long Release to create a gradual, evolving sound.
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Output: Adjust volume to taste.
Extra Tips
Sound Design Tips:
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Experiment with Waveforms: Different waveforms create different timbres. Don't be afraid to mix and match.
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Utilize Filters Wisely: Filters can drastically shape the sound. Low-pass filters are great for smoothing, while high-pass filters can eliminate unnecessary low frequencies.
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Envelopes Matter: ADSR (Attack, Decay, Sustain, Release) envelopes shape the sound over time. Different envelope settings can turn a pad into a pluck, or a lead into a percussive hit.
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Effects Enhance: Reverb, delay, and chorus can add depth and movement to a sound.
Common Mistakes:
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Overcomplicating Things: Sometimes, less is more. Don't overload the sound with too many elements.
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Ignoring Tuning: Make sure your oscillators are in tune with each other and with the rest of the track.
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Overprocessing: Too many effects can muddy the sound. Use them sparingly and intentionally.
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Not Saving Your Work: If you create a sound you like, save it! Many great sounds have been lost by forgetting to save the preset.
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