This is the second in a series of FM synthesis experiments I am conducting with the X.FM instrument that is included as an example in MaxMSP. This sound was generated by randomizing the parameters in the instrument. I selected it because is has a nice artificial insectoid quality to it which is why I selected a photograph I took of a large dragonfly while camping at Nils Westdal’s bachelor party last September.
Insectoid
I created this bouncy reverberated sound with an FM synthesis virtual instrument called X.FM which is one of the example “patches” within the famous Cycling ’74 produced integrated development environment Max 5. The X.FM patch is a complete fully featured virtual instrument and can be played with a MIDI controller or by tapping a keyboard “object” with the mouse. The instrument is capable of a broad variety of sounds which can easily be illustrated by randomizing the parameters and then listening to the results.
Bouncy FM Patch
This atmospheric effect is a continuation of the experiment from yesterday involving the Flying Waves VST. This time I loaded up a sample of air bubbles being blown into a glass of water. The original sound can be heard here. I also ran the output through an analog modeling delay and then recorded the results as I manipulated the pitch and volume. The result is a wet, atmospheric, psychedelic texture of ambiance. The next step I might would be to sweep the panning or apply some processing to spread the stereo spectrum since the output at this stage is still in mono.
Dub Delayed Atmospheric Bubbles
To generate this pattern I loaded a basic TR-808 kick drum sample into one of the most simple Pluggo VSTs called Flying Waves. The controls in Flying Waves are a set of movable cross hairs on a grid, volume and an external sample button. Moving the cross hairs up and down increases and lowers the pitch of the sample while left and right lowers and increases the volume respectively. With a sine wave you can get Theremin like sounds.
After loading in the 808 kick I resampled myself adjusting the cross hairs for a few minutes until I had some interesting patterns to work with. After that I cut and pasted a bar that was a good representation of what I was going for, then I looped it four times and rendered the results.
Flying 808s
There are so many ways to use processing to make scary sounds that it’s almost too easy. The classic reverse reverb in the original Poltergeist comes to mind. This example is a recording of a conversation with a colleague during a lunch break at a busy sandwich joint. It’s been reversed, pitched down significantly, run through a low pass filter, slowly phased, filter delayed and run through a long reverb. All this processing has diffused the voices into a hellish ambient drone.
Quick and Dirty Ambiance from Hell