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音响设计:重新创建疯狂朋克的“环游世界”在逻辑合成器
Richard Lainhart on Fri, August 5th | 0 comments
Daft Punk's "Around The World", released in the late 90s was a big hit. As well as inspiring countless tunes & remixes, it inspired Richard Lainhart to recreate the key synth hook.

在本教程中,我们将重现疯狂朋克的“环游世界”,一个在0:26开始,在这个视频的主要旋律合成器的声音:



我们将使用逻辑的ES 2 ,伴随着一个或两个效果插件在这里,所以让我们开始吧。


第1步 - 设置逻辑项目

像往常一样,启动“逻辑”,并开始一个新的空项目包含一个空的软件乐器的音轨:


单击并按住通道条顶部的默认EVP88仪器,并选择 01


... ...打开默认的ES 2窗口:


第2步 - 分析声音

首先,这里的旋律RIFF(或重复数字),使用逻辑的那些五线谱的乐谱编辑器显示:


它只是重复一遍又一遍只是一个休息的情侣,在约130 BPM的节奏,所以一旦你得到了它,你可以很容易循环它。

现在,密切听声音本身,揭示它有一个很短,犀利的进攻主要是播放断续,虽然在它的举行3次,大约每四杆短语结束。在此期间举行的注意,你可以听到一点点的颤音的声音,因为它衰变。这是一个相当圆润的声音,而不是明亮和热闹,并有轻微的“空洞”,也就是正方形或脉冲波,这就是我们将使用创建它的特色,还可以听到经典的“dwoink”声音迅速打开和关闭快速信封的控制下,所以我们需要一些过滤,第二个信封,以及重新创建这个声音的低通滤波器的一个谐振。

最后,您还可以听到制服16和第八音符的回声消失的音符之间的空间相当迅速。由于我们不能直接建立在ES 2,回声,在我们的音响设计的最后一步,我们将添加一个同步的延迟效果插件。


第3步 - 创建基本的声音

事不宜迟,这里是我的ES版本的修补程序(单击图像上看到一个大尺寸的版本):


当然,你应该尽量地重现这些设置,你可以创建声音,但因为有一些重要的声音,在此修补程序的设计细节,我想,以确保你赶上,我会去的设置,详细,阅读从上到下,从左到右。

  • At the top of the window, note that the sound is set to Mono with 4 voices and Unison enabled, as this is a solo melody line, so polyphony isn't needed, and the Mono Unison mode provides more power to the single voice while allowing the envelopes to re-trigger for every note.


  • Next, note that I'm using only Oscillator 1, and it's set to a straight square wave, which to my ears recreates the original sound most closely. I've also set the Analog control to the left of Oscillator 1 to 12 o'clock, to add a little bit of variety to the digital waveform. Next, I've set Filter 1 to Lo (Low Pass), with the Filter Blend set all the way to Filter 1, as we won't be using Filter 2. Filter 1's Res (Resonance) is set high, to about 3 o'clock and the Cut (Cut-off Frequency) fairly low, to about 9 o'clock, as we'll be using an envelope to open and close the filter and so we need to have its initial frequency set low to give the control envelope room to work.


  • Next, Volume is set all the way up, and Distortion is set to about 10 o'clock, with the Distortion switched to Soft, just to add a little grit to the sound. Tone is set to Bright to brighten up the patch a bit. Below that, I've enabled the Phaser, and set its Intensity to about 1 o'clock and its Speed to 9 o'clock, which adds a little further variety and motion to the sound. The original patch sounds like it has some sort of processing that varies the overtone structure of the square wave a bit as it plays, and I think the Phaser produces that effect nicely.


  • In the Router section, the first slot has a Source of Env2 and a Target of Cutoff 1, so that Envelope 2 will open and close our low-pass filter. The Control Amount (the green arrowhead) is set to about halfway-up in the positive direction, but you can and should adjust this to see how this affects the overall sound. This enveloped filter control is one of the most important features of this particular sound.


  • Next to that, in the second slot in the Router, the Source LFO1 is set to the Target Pitch 1, so we can add a little vibrato to the melody sound. Right below that, note that LFO 1 is set to a Delay value of 10000ms—or 1 second—so the LFO doesn't begin to modulate the pitch of Oscillator 1 until a second after the sound starts. This way we only hear a vibrato on the longer held notes, not the shorter ones. LFO 1's Rate is set to 5.5 Hz, which is a good vibrato speed. Also note the waveform for LFO 1 is set to Triangle, for a symmetrical vibrato.


  • Continuing on, Envelope 2, the one that's controlling our filter, has an A (Attack) value of 31ms (you can't see it in the window, but you will when you drag the slider), and a D (Initial Decay) value of 99ms. These two values are critical to reproducing our sound, so you want to get those right; this is what creates the "dwoink" part of the sound. But you should definitely play with those values to see how adjusting them even slightly changes the sound significantly.


  • Finally, Envelope 3, which controls our sound's amplitude, has an Attack setting of 0.11ms, just above zero, no Initial Decay, an S (Sustain) level of 0.161, and an R (Release) value of 24ms. These settings give us a sharp attack and decay when the notes are played staccato, as they are most of the time, but allow for a little sustain on the longer notes so you can hear the vibrato tail on those notes. 


第4步 - 添加同步的延迟

最后一步是离开ES 2,并添加同步的延迟,这是这声音的重要组成部分。要做到这一点,在ES 2通道条,点击第一个插入按钮选择立体声延迟效果:


在立体声延迟窗口,应用这些设置:


请特别注意,节拍同步启用,这样的延误将在与我们的节奏同步。一旦它,设置左延迟到第16音符,所以你会听到左声道,右延迟到第八音符快相呼应,在右声道的不同回声。 (在原来的声音,听起来像右声道回声较长,慢比左我,但可能只是一个YouTube视频的音频神器。无论如何,我们将尝试重建的声音我们可以密切合作,所以让我们现在使用的这些不对称的回声,如果你选择,你可以随时修改这些设置。

另外还要注意的反馈设置为左,右延迟,并为每个相对低的输出组合。我们不想听到这些回波太多,或他们将淹没的声音。


最后的思考

而这基本上它。如果你遵循这些设置,你应该得到一个非常喜欢这个声音,我已经添加了一个大鼓,以帮助强调节拍:

[音频ID =“7831”]


一旦你重新创建的声音,你应该发挥当然,所有这些设置,看看他们做什么,与你自己的变化来。

我希望你找到了这个声音设计课有用,与往常一样,试验和乐趣!

了解有关一切可以做的ES 2史蒂夫在H的更多的逻辑2 206 - ES暴露。

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