All Articles Synths & Sound Design
Richard Lainhart on Wed, August 24th 2 comments
Learn how to recreate the Benny Benassi "Cinema" chord stab synth using Logic's ES2. Richard Lainhart gives in-depth explanations for the settings and sceenshots to help you follow along.


(あるトラックで特色にこの音の3つのバージョンが実際にあり、我々だけでボーカルの前に、ビデオで午前0時29分に表示される短い、チョーク和音-刺すの音を再現することになるだろうが、低音なし別のトラックのように聞こえるライン、。)我々はこの1つのロジックのES 2を使用することになります。始めましょう。

ステップ1 - ロジックのプロジェクトを設定します。


Create a Software Instrument Track


Insert an ES2 on the track

Default ES2 interface

ステップ2 - サウンドを分析


Piano Roll with pattern of Cinema stabs


ステップ3 - サウンドを作成する

OK、ここでパッチの私のES 2バージョンがあります:

ES2 Settings for Benassi's Cinema


  • First, note that we have all three oscillators enabled. 1 & 3 are set to sawtooth waves, which gives us our basic buzzy sound. Osc 2 is set to rectangular sync. Oscillator 1 is set +6c Oscillators 2 to 12s -2c, and Oscillator 3 is detuned 12s and 10c to add a little more fullness to the patch. 
  • From there, the mixed oscillators go through a low-pass filter, with the Cut almost all the way down and the Res (resonance) a little over quarter way. The other filter is mixed out, as set in the Blend slider.
  • After that, in the Effects stage, I've left the settings at heir default values.
  • Next, in the Router, the first Router slot's Target is set to Cutoff 1 (the Cut frequency of the first filter), with the Source set to Env2 (Envelope 2). The Control Amount slider (the green arrowhead) is set to the top of the positive value range, so the filter cutoff sweeps over a fairly wide range. (The other Router slots are disabled, as we don't need them for this patch.)
  • Below the Router, Envelope 3, which is controlling the amplitude of the patch, is set to a short attack (A) and decay (D), with a medium release (R), to create the short stabbing envelope for the chords. Envelope 2, which is controlling the cutoff frequency of the first filter (as set in the Router), has similar settings, but with a somewhat longer Decay and Release, so the filter closes down just a bit faster than the amplitude.


[オーディオのid ="8367"]

(ご注意:ENV 2ディケイ上記のオーディオサンプルの終わりに向かって音を開くために自動化されています)。



Comments (2)

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  • Dekuruy
    Thanks, Richard. I really enjoy these sound design articles. I'm glad the change was made from the first notated transcription and audio sample. This is much more accurate. It sounds to me like the whole synth track in the recording is one patch, with envelopes and delays being automated. Nice work!
    • 7 years ago
    • By: Dekuruy
  • rlainhart
    Thanks, Adam - I appreciate it. The notation and performance is definitely more accurate now, and I think you're correct that it's one patch with automation. Sorry that I didn't get it right the first time around, but thanks for hanging in until we did. ^_^
    • 7 years ago
    • By: rlainhart
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