# Creating timbre of pads (sounds) in synths?!



## Haplopalm (Mar 4, 2020)

Hello guys,

its seems that i miss something in the programming of pads,
or better said the *"timbre"*, or *"color"* of the sound itself.

What i mean with that, is that i find it difficult to make
the sound unique or different from sounding like basic 
waveforms in subtractive synthesis. Im not talking about 
other synthesis methods like wavetable, just with simple 
subtractive. I dont talk about fm/sync or else to create
a certain subtle "color".

I know how to program all kinds of sounds in general,
but when i listen to some pads and analyze them,
i see that they dont need that much modulation, its more
of a formula of mixing osc's and simple filtering and
they sound pleasing to the ear and somehow unique, its 
like they created and found a sweetspot.

So im thinking its maybe a "back to the basics" problem,
and could be related to root notes and overtones,
or maybe a music theory (chord) problem.


My workflow for a simple pad is currently like this 
(and it could be a wrong behavior):

-I would start with choosing a waveform of OSC #1 (lets say a saw)
-Then i would mix in an OSC #2 (also saw), putting it an octave higher 
or detuning it a bit to get movement.
-Then i set the vol env and filter env.
-A bit of modulation follows, eventually LFO -> slightly pitch or cutoff/res
-Depending on the synth, i add some modulations to get more movement.

This was just a too simple idea, and it seems i miss a step while
mixing the OSC's. Knowing which waveforms create which overtones
does not help me somehow. I know how the standard waveforms sound,
but not so much how to combine them that they dont sound separated.
I mean, if i mix a saw and a square, they sound separated and do
not glue together.


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## richmwhitfield (Mar 7, 2020)

Do you have any examples of the type of sounds you are trying to achieve? Pads come in so many different shapes and sizes that it would be impossible for us to know how to help.


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## HapIopalm (Mar 7, 2020)

Like this one at 7:20 min :


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## jcrosby (Mar 7, 2020)

With that particular sound there's some chorus, (listen how wide and modulated the imaging is), probably some unison too. There's also a noise oscillator you can hear when the filter opens up, (this is a big part of this sound). There's also a very short portamento, you can hear it more noticeably when they switch between certain chords. There also seems to be a delay on there which seems to help to blur all of those subtle little bends and portamento. They also could be using PWM instead of saw, Pretty sure that's what creates the timbre shift toward the end.


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## lastmessiah (Mar 8, 2020)

Some tips:

Unison with the voice detuned and hard-panned will give you a full and wide sound.

Use envelopes to subtly open the filter over time - if you have dual filters, even better.

Use ramps or fades for your LFO modulations. If you just program a simple zig zagging LFO wave it will sound dull and mechanical. Gradually rise it in and set the rate to something vaguely rhythmic. Modulate the LFOs themselves if you can.

Analog is pretty limiting when it comes to ethereal pad timbres. What you really want is morphable waveforms, frequency modulation, and sine waves.


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## HapIopalm (Mar 9, 2020)

jcrosby said:


> With that particular sound there's some chorus, (listen how wide and modulated the imaging is), probably some unison too. There's also a noise oscillator you can hear when the filter opens up, (this is a big part of this sound). There's also a very short portamento, you can hear it more noticeably when they switch between certain chords. There also seems to be a delay on there which seems to help to blur all of those subtle little bends and portamento. They also could be using PWM instead of saw, Pretty sure that's what creates the timbre shift toward the end.


Ok, since the pad is made on a Prophet 6, i try to make a similiar one on Repro5 currently.
The noise opening by the filter, of course i hear it and for my taste its a bit too much on that patch.
Its more the start of the Patch, which could be portamento/glide, yes. Those "subtle little bends" you were talking about could be my problem here eventually.



lastmessiah said:


> Unison with the voice detuned and hard-panned will give you a full and wide sound.
> 
> Use envelopes to subtly open the filter over time - if you have dual filters, even better.
> 
> ...


Mhhmm...i think i dont have a problem with pads at all, its more about nuancing/highlighting a certain "color", which i want to enhance to get a uniqueness of the sound, just with basic waveforms, like the ones in the Prophet6. Of course its easier to work with a versatile Synth like Zebra or else to get unlimited "timbres" but as i listen to some patches of basic substr. Synths, it should be possible there also.


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## JPQ (May 13, 2020)

HapIopalm said:


> Like this one at 7:20 min :



sounds nice oh why why only 49 keys. i try found synths replace few my synths even maybe go software route price reasons.


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