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HERTZ & HAVOC - Part 1: Random Modulation & Spectral Serendipity with Hass Effect
🕑 Added 2023-08-16 18:00:06 +0000 UTC
HERTZ & HAVOC
Part 1: Random Modulation & Spectral Serendipity
with Hass Effect
In this Lux Cache article/tutorial series, we embark on a sonic journey into the realm of 'randomized' sound design and compositional methods, unravelling the mysteries of unpredictability in digital audio creation. In the inaugural chapter, Hass Effect introduces us to the dynamic world of random modulation, guiding us through the tools and techniques that breathe life into static sound parameters. Beyond the mere crafting of sounds, we also explore the profound impact of randomization on the listener's experience, challenging traditional notions of composition and control.
This tutorial is available as a Patreon text post and a preferred .pdf document format. We ask you kindly to not share Lux Cache content outside of the Patreon, our contributors rely on your donations.
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CONTENTS
- INTRODUCTION: Breaking the Perfectionist Mold
- CPU AND AMPLITUDE PRECAUTIONS
- LFO
- EXPRESSION CONTROL
- STRANDE MOD
- “META” MODULATION
- DESIGNING FUNCTIONAL / UTILITARIAN SOUNDS
- FAST FOURIER TRANSFORM (FTT) EFFECTS
- SPECTRAL MANGLING
- SPECTRAL TRANSFORMATION
- SPECTRAL LEVEL
- SPECTRAL SPLITTING
- CONCLUSION, ALTERNATIVES AND RELATED LINKS
INTRODUCTION: Breaking the Perfectionist Mold
In an effort to escape my perfectionist tendencies, where I'd often spend excessive time tweaking synth patches without making significant progress (though enjoyable), I've begun incorporating elements of randomization and unpredictability into my workflow. By separating sound design from songwriting sessions, I've discovered ideas, textures, and motifs that I might never have conceived intentionally. This approach has also enhanced my efficiency in both crafting sound palettes and overarching songwriting.
The integration of randomization in sound design has profound implications for both the listener and the producer. For the listener, it introduces an element of unpredictability and novelty, ensuring that each auditory experience is unique and potentially unrepeatable. This can evoke a sense of wonder, curiosity, and heightened engagement, as the listener is constantly presented with fresh sonic landscapes that defy expectations. On the other hand, for the producer, randomization serves as a tool to break free from creative ruts and the constraints of perfectionism. It allows for the exploration of uncharted territories in sound, fostering innovation and reducing the tendency to over-tweak or overthink. Moreover, it challenges the producer to relinquish a degree of control, embracing serendipity and the unexpected outcomes it can yield. This not only enriches the creative process but also leads to the discovery of novel textures, motifs, and sonic ideas that might not have been conceived through traditional, deterministic methods.
In the subsequent sections, I'll delve into the randomization techniques I frequently employ in my sound design process using Ableton Live Suite. However, if you use a different DAW, don't be disheartened. The core concepts can be adapted to any software with random modulation capabilities.
Additionally, I'll share some of my favorite tools from my sound design journey. These tools allow me to radically alter the spectral content of any signal, easily transforming its texture through spectral processing.
CPU AND AMPLITUDE PRECAUTIONS
Given that the sounds we'll be crafting are unpredictable, there's a possibility of encountering unexpected spikes in amplitude and high-frequency content. These can be potentially harmful to our hearing. I strongly recommend using a limiter on the master track and maintaining a low monitoring volume during the sound creation process to safeguard your hearing.
For those using older or less powerful computers, some of these methods can be CPU-intensive and may slow down your system. To mitigate this, consider increasing the buffer size in your DAW and closing any unnecessary programs to prevent lag.
A quick tip: always record your desktop audio when using these methods. You never know when an intriguing sound might emerge during your design process, and it could easily get lost amidst the complex web of random modulations. Free software like Audacity is perfect for this purpose.
RANDOM/BIN LFO
If you've ever explored a synth in your DAW, you've undoubtedly encountered an LFO, as it's one of the most straightforward and conceptually simple tools for modulating parameters. Luckily, Ableton Live Suite includes a built-in M4L LFO that's perfect for our patch-building needs.
The default Ableton Live LFO offers all the standard LFO shapes. However, the ones that stand out for our current purposes are "Random" and "Bin". The "Random" shape provides a spectrum of randomly generated values ranging from 0 to 1. In contrast, the "Bin" shape operates in a binary fashion, offering only the values 0 or 1, much like a toggle switch. This can be especially handy when you want to re-trigger specific features or devices.
Before diving into modulation, there's a notable "quirk" with the Live LFO, especially in its random modes, that you should be aware of. When assigning modulation to multiple parameters using the Multi-Map menu located in the device's upper right corner, all potential targets will receive the same random LFO curve. This results in parameters always maintaining the same ratio in relation to each other. This lack of variation between multiple LFO curves isn't ideal, as it diminishes a certain level of randomness we're aiming for. To address this, we'll set up a simple rack that enables us to use as many simultaneous LFOs as desired. Ideally, each parameter we wish to modulate should have its own independent LFO.
🎥 1. Creating Random LFO Rack.mkv
When constructing the rack, ensure that all chains except one are muted to prevent amplifying the input signal.
Key parameters to consider when working with random LFOs include:
- Rate: This defines the LFO's speed. Varying the values across different LFOs can lead to a dynamic interplay between chains and parameters.
- Jitter: Introduces randomness to the waveform, creating an erratic oscillation of the sustained value.
- Smooth: This parameter eases value transitions, yielding smoother shifts between values.
- Depth: This sets the overall potency of the LFO.
Additionally, you can map the “Hold” and “R” (Retrigger) functions to your keyboard for enhanced control over the LFOs:
- Hold: This halts the waveform at its current output value.
- Retrigger: This provides a fresh random value, independent of the LFO's speed.
Here's a bass patch I crafted using the random LFO rack we built:
🎥 2. Randomized Bass With LFO.mkv
With this patch, my aim was to showcase how random LFOs can be integrated into a typical sound design process. The twist here is the added dynamism to some of the effects, moving beyond static parameters. This allows the patch to seamlessly transition between varied textures, yet it retains its foundational characteristic as a consistent bass sound. Instead of relying on a macro or multiple meticulously crafted automation lanes, this approach breathes life into the patch, enabling it to continually evolve.
When incorporating random LFOs into your patches, patience is key. It often involves a significant amount of trial and error to determine which parameters to modulate randomly and the range within which they should operate. My usual strategy is to let the sound play continuously as I design, manually adjusting parameters until I identify those that produce intriguing modulations. While this might seem rudimentary, with practice, you'll find that adjusting knobs and responding to timbral changes becomes intuitive.
EXPRESSION CONTROL
If you've spent enough time with LFOs, you'll quickly recognize their limitations, especially the absence of native MIDI triggering which can sometimes be cumbersome to navigate. Additionally, the peculiar and inconsistent logarithmic smoothing curve can be challenging, particularly with slower rate times.
With the rise of MPE-based devices and software in electronic music, Ableton has rolled out an M4L device named Expression Control. This tool allows you to harness the MPE capabilities and utilize internal MIDI mappings to control virtually any aspect within Live. As you might anticipate, this device also boasts randomization features that we can integrate into our sound design.
A clear edge that Expression Control has over LFO is its ability to provide six potential random values in a single instance. This not only conserves CPU but also offers a more streamlined and accessible interface. I suggest crafting a rack that tailors the Expression Control device for randomized sound design, which includes mapping specific parameters for more straightforward control adjustments.
🎥 3. Optimising Expression Control.mkv
Here's a refined version of the text:
Let's delve into the functionalities of the parameters we'll be employing:
- Amt/Depth: This scales the generated random value.
- Shape: Allows switching between logarithmic and linear forms.
- Rise: Provides a smoother attack for the envelope.
- Fall: Ensures a gentler release of the envelope.
To illustrate, I've crafted an example patch that generates glitchy bubbles, utilizing the optimized Expression Control rack:
🎥 4. Randomized Bubbles With Expression Control.mkv
By amplifying the randomness and modulating a greater number of parameters, our patch no longer maintains a consistent spectral content or a discernible shape. Venturing into more abstract sound concepts grants us the freedom to be more inventive with the parameters we modulate. This approach enables the creation of sounds that would be considerably challenging to produce without randomizers. And, since Expression Control functions as a MIDI effect, we can also harness the Arpeggiator device. This lets us trigger our randomizers without the need for manual input of multiple MIDI notes.
STRANGE MOD
I'd like to spotlight another device: Strange Mod by the talented Dillon Bastan. Its architecture bears a resemblance to the stock Live LFO. However, instead of the conventional shapes and two stochastic random modes, Strange Mod boasts 11 "strange" or "chaotic" attractors that generate a dynamic 3D coordinate. Each of these coordinates can be mapped to different parameters in Live. The unique aspect of chaotic attractors is their non-repetitive progressions, yet they maintain a distinct pattern of movement.
‘Stange Mod’ Max For Live Device, developed by Dillon Bastan
Strange Mod offers a nuanced control over the chaotic attractors through the following parameters:
- Initial: Adjusts the position of selected 3D coordinates, akin to the phase in an audio domain.
- Random: Randomizes the value position of all initial settings.
- Init: On a mouse click, this reinitiates the simulation.
- “R”: When activated, the simulation will revert to its initial position every time Live’s transport playback begins.
Below is a patch I crafted, leveraging the chaos modulation capabilities of Strange Mod:
🎥 5. Randomized Water With Strange Mod.mkv
“META” MODULATION
Things take a quirky and intricate turn here. To elevate the randomness and chaos, we'll intertwine multiple randomization devices in unconventional ways. Imagine a patch with several LFOs and an Expression Control device activated by an arpeggiator. To add depth, you could map an LFO to the arpeggiator rate and assign an Expression Control random value to the LFO's rate. This creates a sort of circuit where the three randomization devices continuously evolve in tandem. The possibilities are boundless; you can craft intricate randomization systems with as many devices as your CPU can manage.
While experimenting with numerous randomization tools, I found that not only can you modulate device parameters, but you can also adjust most aspects of the DAW itself. Notably, the tempo in the project file can be modulated, which is handy when using sync modes in any randomization device. Modulating typically static modes and options in synths and effects (like Algorithm, LFO shape, Loop Mode, Filter Drive Mode in Operator; Resonator Object and Quality Setting in Corpus, etc.) can yield unique artifacts that can be emphasized for specific stylistic effects.
🎥 6. Unexpected Parameter Modulation.mkv
Below is a patch where I've employed "Meta Modulation" and the previously discussed techniques:
🎥 7. Randomized Meta Patch.mkv
To break down the patch conceptually: two Randomized Sound Design Patches run concurrently (refer to the earlier discussed randomized bass and bubbles racks/videos for a clearer understanding of the sub-patch). Both are activated by a master arpeggiator, further randomized by an added Expression Control. At the chain's end, the two patches merge spectrally using Zynaptiq Morph, which is randomized by a Strange Mod device. This device also connects back to the master arpeggiator, forming a closed loop with all devices, as the adjacent Expression Control to our master arpeggiator modulates the rate at which the Strange Mod functions.
Diagram representing the simplified “meta” patch
I trust that through this demonstration, I've shed some light on crafting intricate, self-evolving "post sound design" systems. However, our exploration doesn't end here.
DESIGNING FUNCTIONAL / UTILITARIAN SOUNDS
For many producers, there's no need for overly intricate and complex sounds or generative systems. With that in mind, I aim to demonstrate how some of these techniques can be employed to craft sounds that are more practical and in line with what you'd typically find in sample packs or kits. While I focus on drum sounds here, subtle randomization can be applied to virtually any sound without delving too deep into the process.
The primary challenge in designing these functional sounds lies in maintaining the core essence of a sound while varying its secondary characteristics. Take kick drums, for instance. They typically manifest as a swift sine sweep down the spectrum. By keeping this core attribute consistent and randomizing elements like distortion, filters, and compression, we can effortlessly generate infinite variations of the same sound.
This principle can be extended to other sounds as well. Recognizing and distinguishing the fundamental aspect of a desired sound can guide our decisions on which parameters to randomize.
SPECTRAL MANGLING
Shifting our focus from randomization, I'd like to delve into some of my go-to signal processing techniques centered around spectralism, which I frequently employ when crafting patches. Spectralism techniques utilize Fast Fourier Transform (FFT) to analyze and process sound in the spectral domain, representing it as a series of sine waves, rather than the time domain. While the underlying digital conversion involves intricate mathematics that I won't delve into here for clarity and brevity, it's essential to understand that when using spectral processing tools for stylistic purposes, we're essentially processing sound in "blocks". The amount of processing within one block before transitioning to the next is termed the FFT Size, which typically doubles in length (256, 512, 1024, and so forth). Generally, a larger FFT Size equates to higher quality, but it's not without its quirks. For instance, an excessively large FFT Size can introduce significant transient smearing and latency. However, these characteristics can be harnessed creatively for unique stylistic effects.
For a hands-on demonstration of spectral processing, I'll be utilizing MeldaProduction’s spectral plugins. I find them to be among the most intuitive and versatile, especially given their robust modulation features, including random modulators. For those seeking alternatives, I'll provide links to some free options at the end of this guide.
Diagram representing the analysis of sound using Fast Fourier Transform (FFT)
SPECTRAL TRANSFORMATION
Spectral transformation effects empower us to map any frequency to another using an x-y plot, where 'x' represents the source frequency and 'y' is the output frequency. While the concept is straightforward, its practical applications are vast. This approach grants us granular control over each frequency, allowing for intuitive manipulation. A particularly captivating application is employing various curve shapes on our transfer curve, resulting in distinctive harmonic and inharmonic stretches within the spectral content. Even with just a basic saw wave, we can craft a plethora of unique timbres.
🎥 10. Spectral Transforming.mkv
SPECTRAL LEVEL
Similar to the spectral transformation graph, the spectral level offers an x-y plot. However, instead of frequencies, we have the ability to adjust input and output levels. This essentially allows us to execute spectral gating or compression.
🎥 11. Spectral Level Manipulation.mkv
SPECTRAL DELAY
Spectral Delay offers a unique twist on the traditional delay effect. Instead of a uniform delay, each frequency can have its own distinct delay length, feedback strength, spectral transform, and spectral level. This allows for a myriad of creative possibilities, from transforming simple percussion sounds into laser-like effects to creating chromatic delay runs.
SPECTRAL SPLITTING
Spectral Splitting is a potent tool in spectral processing, offering an alternative to multiband processing. Two particularly useful types of spectral splits are Noise/Tonal and Attack/Release.
- NOISE/TONAL Split divides the signal into either noise or tonal (sinusoidal) content. Here's a demonstration using MRatioMB to craft a multiband noise/tonal splitter:
🎥 13. TonalNoise Multiband.mkv
- ATTACK/RELEASE Split separates the signal into either the transients or the release. This is especially handy for crafting unique drum sounds without altering the transient data. Similarly, we can create a rack to process transients and release independently:
🎥 14. TransientRelease Multiband.mkv
Lastly, I'd like to introduce internal modulation in MeldaProductions plugins. Under utilities, there are four modulators available to assign to any parameter. These modulators can even be assigned to parameters like curve movement and shape, which are often locked in other plugins. To assign parameters, click on the three horizontal lines, then select "Learn". The modulator will then "learn" the behavior of the parameters you adjust. Within the modulator options, you can choose "Random" and adjust the settings as desired. If you need more than four modulators, you can assign parameters to Macros (Multi-Parameters) and modulate them externally using your DAW's modulation features.
🎥 15. MeldaProductions Internal Modulation.mkv
CONCLUSION, ALTERNATIVES & RELATED LINKS
Exploring the vast realm of randomness in electronic music can be both enlightening and creatively invigorating. The techniques and tools I've shared here are just the beginning. For those using Ableton Live, I encourage you to delve deeper into the world of Max for Live devices tailored for randomization. It's a fantastic way to add a fresh, unpredictable twist to your sound design journey.
Below are some free alternatives to the software mentioned in this guide:
- MTransformer Alternative (with bonus devices): Spectral Suite by Andrew Reeman
- MRatioMB Alternative: While MRatioMB is free, there's also an impressive alternative by IRCAM worth checking out: ASAP by IRCAM
- MSpectralDelay Alternative: I'm not aware of a direct free alternative to MSpectralDelay outside of Max for Live. However, here's a simple spectral delay for M4L: Simple Spectral Delay on Max for Live
- Audio Unit Plugins for macOS Users: I haven't personally tested these due to platform constraints, but they come highly recommended by colleagues: SoundMagic Spectral by Michael Norris
May your musical journey be ever-evolving and filled with delightful surprises!
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Hass Effect is a music producer and sound designer based in Croatia. You can listen to Hass Effect’s music on their SoundCloud and Bandcamp pages.
You can follow them on Instagram: @hasseffect_
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