Although they allow you to create any sound you can imagine, the 130+ modules available in GameSynth’s patching environment can be a bit overwhelming at times! If you just discovered GameSynth or sound synthesis, focusing on a single module at a time can help. This is what we will be doing in this 2-part tutorial, by showing you how to design different patches using the Noise module as our unique sound generator!
Noise 101
Although these 3 types of noises are arguably the most useful for sound synthesis, there are actually many colors of noise!
For convenience, the Noise module also includes lowpass and highpass filters to further constrain its spectral range if needed. The modulation inputs provide a way to adjust the amplitude of the signal generated, as well as the cutoff frequencies of the lowpass and highpass filters.
Because of its versatility, the Noise module is a basic building block in many patches, and learning all about it will help you design more complex patches once you combine it with other modules.
In the rest of this tutorial, we will use the Noise module as the only sound source, first starting with simple patches including a few modules, and then ramping up to more elaborate designs.
Warming Up
Room Tone – Room tones correspond to the natural noise produced by our environment. Although this is probably something that should not be too loud, it is often the base layer of many ambiences. Often, it is simply filtered noise. To achieve this, let’s connect a Noise module to two EQ Filter modules with slightly different frequencies (around 300 Hz) to create a small stereo effect. Simply by adjusting the frequency of the filters and selecting different types of noise, it is possible to generate a large palette of tones.
Designed Ambience – By replacing the filters in the first patch by more advanced processors such as Resonator and Reverb modules, eerie ambiences can be designed. The Resonator will put the emphasis on specific frequencies and add resonances to the sound. This will help create an ethereal feeling, especially after increasing the Wet/Dry mix to around 90%.
Ventilation – To create a sound similar to a fan, a periodic modulation can be applied by an LFO. First, the Noise’s integrated lowpass filter is set around 110 Hz to simulate a low rumble, and then the output of the LFO is connected to the Noise amplitude. Selecting the TwoSines shape will produce a good rotating sound, and an extra Formant Filter will muffle the sound even more. Connecting the LFO to its morphing input will also improve the rotation effect.
There are many shapes available for the LFO, and the Formant Filter module offers many vowel settings. Simply by adjusting these two parameters, it is possible to create a large variety of fan-like sounds!
Distant Helicopter – By modulating a filter’s frequency instead of the amplitude of the Noise module, the sound of a distant helicopter can be simulated. In this case, the Noise’s type is set to Brownian and its output connected to an EQ Filter with a Bell shape. By lowering the gain of the filter, a notch is created in the spectrum, and when its center frequency is modulated by the LFO (via a Mapper module to adjust the range), a typical rotor sound is generated. The EQ (3 bands) and the Spectral Delay modules are used to adjust the feeling of proximity and space.
Whoosh
Whooshes are one of the categories of effects typically relying on noisy sound sources.
Swish – Creating realistic short whooshes can easily be done by quickly modulating filters. First, the Noise module is connected to two bandpass EQ Filters in parallel, with different resonance (Q) settings. Then, the Envelope that controls the Noise amplitude is also used to drive the filters frequency (via Mapper modules that set a different range for each filter). Once random ranges have been assigned to the Envelope’s duration, the Output Max of the Mapper, and the lowpass EQ Filter’s frequency (after the second bandpass) many sound variations can easily be created.
Magic Whoosh – Stylized whooshes can be designed by adding effect processors to the signal path. In this patch, two Noise modules are used. They each focus on a different frequency range and send their output through various processors. A Flanger is usually great to emphasize movement (experiment with different LFO rate values), while a Delay will help create a longer release. Note that this patch divides into parallel branches. One of them circumvents the effects and is mixed back into the main branch: this compensates for the loss of intensity due to the effects chain. For more examples of noise-based, stylized whooshes, check out our Anime Swish blog.
To find out the many ways you can use a Noise module, visit the patch repository, select the Modular model, and press the “Search Module” button (or press Alt+M twice). Then select the Noise module, and all patches using it will be listed!
To find out the many ways you can use a Noise module, visit the patch repository, select the Modular model, and press the “Search Module” button (or press Alt+M twice). Then select the Noise module, and all patches using it will be listed!
Cloth Foley – While technically not a whoosh, cloth Foley can be simulated using a similar technique. A pink Noise is sent to an EQ Filter configured as a bandpass, whose central frequency is modulated to mimic the movement. As the pink noise by itself does not sound like cloth, two EQ (5 bands) are used to shape the sound and get something closer to a friction sound. This time, instead of an Envelope, a Meta Parameter is used to drive both the filters and the overall amplitude, the Drifter module slightly randomizing the movement.
This concludes the first part this tutorial about the design of patches around the Noise module. Don’t miss the second part, in which we will create patches for impacts and environmental sounds.
