{"id":5213,"date":"2024-10-01T06:43:19","date_gmt":"2024-10-01T06:43:19","guid":{"rendered":"https:\/\/tsugi-studio.com\/blog\/?p=5213"},"modified":"2024-10-01T07:30:29","modified_gmt":"2024-10-01T07:30:29","slug":"design-sounds-from-noise-source-2","status":"publish","type":"post","link":"https:\/\/tsugi-studio.com\/blog\/2024\/10\/01\/design-sounds-from-noise-source-2\/","title":{"rendered":"Designing sounds from Noise 2\/2"},"content":{"rendered":"
\n \"\"<\/a>\n<\/div>\n

This 2-part tutorial is a gentle introduction to modular patching focusing on the Noise module of the GameSynth<\/a>\u2019s patching environment. After generating room tones and whooshes in the first part, we will now design some impacts and environmental sounds.<\/p>\n

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\n<\/a><\/p>\n

Impacts<\/h2>\n

A Noise<\/strong> module can be used to create impact sounds when controlled by a short Envelope<\/strong>.<\/p>\n

Foley Impacts \u2013<\/strong> This patch generates typical Foley impacts, that could be used as layers for footsteps or object interactions for instance. Both ADSR<\/strong> envelopes are shorter than 500ms. One is driving the lowpass EQ Filter<\/strong>\u2019s frequency<\/em>, while the other controls the global amplitude of the signal. The benefit of using ADSR<\/strong> modules is to be able to assign random ranges to specific segments (whereas Envelope<\/strong> modules have a general variation<\/em> parameter). In this case, a random range is assigned to the release<\/em> to add variation to the duration. A bigger sound is achieved thanks to the Compressor<\/strong> and Saturator<\/strong> modules, which also have random ranges, generating more amplitude variations.<\/p>\n

\nDid you know? Although we are exclusively using the Noise<\/strong> module in this tutorial, Granular Noise<\/strong> and Noise Bands<\/strong> modules are also available in the patching environment. Check them out!<\/p>\n

\"\"<\/a><\/p>\n

Clap \u2013<\/strong> Claps can be created using a similar technique. The signal path is slightly more complicated as several filters are used to shape the sound. No modulation is used on the filters this time: \u00a0the Chorus<\/strong> effect will indeed apply a global modulation, thus simplifying the patch. Adding random ranges on the mid and high gains<\/em> of the EQ (3 bands)<\/strong> module and on the resonance (Q) of the bandpass <\/em>EQ Filter<\/strong> will produce nice tone variations.<\/p>\n

\"\"<\/a><\/p>\n

Tonal Impacts \u2013 <\/strong>Even though we are using a Noise<\/strong> module as a sound source, nothing prevents us from designing something a bit more tonal. For this patch, the Envelope<\/strong> is set to a very short duration<\/em> (50ms). An EQ (3 bands)<\/strong> is used to lower the high frequencies, while a Comb Filter<\/strong> will create the tonal resonances. By adjusting its delay<\/em>, the overall tone of the sound can be modified. Adding a final Delay<\/strong> module will allow us to generate interesting UI sounds with this patch!<\/p>\n

\"\"<\/a><\/p>\n

Environmental Sounds<\/h2>\n

Let\u2019s finish with patches that are a bit more complex, to explore all the possibilities offered to us by the Noise<\/strong> module.<\/p>\n

Wind \u2013<\/strong> This patch is a bit similar to the whoosh patch<\/a> from the first part of the tutorial. The Noise<\/strong> module is sent through different EQ Filters<\/strong> configured in parallel. They are set up as lowpass<\/em>, bandpass<\/em> and highpass<\/em> filters. This allows for the independent modulation of different frequency bands by Perlin Noise<\/strong> modules. \u00a0Perlin noise is a special type of noise used to create pseudo-random control signals, rather than audio sources. It works well for natural sounds, such as wind. The Mapper<\/strong> modules are here to keep these modulations within useful ranges.<\/p>\n

\"\"<\/a><\/p>\n

River \u2013<\/strong> To create the swirls of the water flow, Perlin Noise<\/strong> modules are again put to contribution. One of them modulates the frequency<\/em> of a Ladder Filter<\/strong>. By setting the filter\u2019s resonance<\/em> to around 2, and quickly modulating its frequency<\/em>, water-like sounds can be generated. An EQ (3 bands)<\/strong> is used to soften the sound, especially in the high frequencies. A separate branch of the patch sends the output of the Noise<\/strong> module through a lowpass<\/em> EQ Filter<\/strong>, cutting frequencies around 2000Hz: this will create the continuous rumble of the river and make it sound more powerful.<\/p>\n

\"\"<\/a><\/p>\n

Fire \u2013<\/strong> This patch combines many of the techniques previously described in this tutorial. It is divided in three branches, each one using a different type<\/em> of noise. The Brownian<\/em> branch will generate the low rumble of the fire. Its amplitude<\/em> is modulated by a Perlin Noise<\/strong> to produce a livelier sound. A highpass<\/em> EQ Filter<\/strong> set at 60Hz helps managing the lower frequencies.<\/p>\n

The second branch uses white<\/em> noise to synthesize the burning sound. The Noise<\/strong>\u2019s module lowpass<\/em> input is modulated by a random<\/em> LFO<\/strong> in order to mimic a typical flame sound. Different intensities can be achieved by adjusting the max output<\/em> of the Mapper<\/strong> processing the signal from the LFO<\/strong>.<\/p>\n

Finally, the crackles are simulated with pink<\/em> noise being sporadically triggered by a Distribution<\/strong> module. As these sounds are extremely short, the Envelope<\/strong> is set to the minimum duration<\/em> (0.01s) and the Impulse<\/em> preset is used, further shortening the actual duration to around 1 or 2ms. A bit of variation<\/em> is set in the Envelope<\/strong> to make the crackles sound less repetitive, thus more natural.<\/p>\n

The position of the crackles in the stereo field is randomized. To achieve this, the signal from the random<\/em> LFO<\/strong> is also sent to a Sample & Hold<\/strong> module. When triggered by the Distribution<\/strong> module, it will capture the current value of the LFO<\/strong>, which will be used to set the panning<\/em> parameter of a Panner <\/strong>module. Each crackle will therefore sound like it is coming from a different position. Finally, Reverb<\/strong> modules add a sense of space to the crackles.<\/p>\n

\"\"<\/a><\/p>\n

We hope this tutorial gave you some inspiration to experiment and create new sounds with noise sources. You can download all the patches below.<\/p>\n

\"download-patches\"<\/a><\/p>\n

\"GameSynth\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This 2-part tutorial is a gentle introduction to modular patching focusing on the Noise module of the GameSynth\u2019s patching environment. After generating room tones<\/p>\n","protected":false},"author":1,"featured_media":5209,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,12,6],"tags":[],"class_list":["post-5213","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-procedural-audio","category-tutorial","category-gamesynth"],"_links":{"self":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/5213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/comments?post=5213"}],"version-history":[{"count":9,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/5213\/revisions"}],"predecessor-version":[{"id":7175,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/5213\/revisions\/7175"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/media\/5209"}],"wp:attachment":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/media?parent=5213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/categories?post=5213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/tags?post=5213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}