Synthstrom Audible Deluge

5 drum sounds this box makes from scratch, in the order to build them. Work down the list: open one, patch it, set the values, then record a single hit before moving to the next.

1. 1Synth kick on a kit row — sine, fast pitch drop, decimatedkick · hard

   • CLIP TYPEKit(Synth, Kit, Audio, MIDI, CV)

     From clip view: [SHIFT] + [KIT] or [SYNTH]

   • OSC 1 TYPESine(Sine, Saw, Square, Triangle, Analog Saw, Analog Square, Wavetable, Sample, IN, INL, INR, INLR)

     [AUDITION] + [SYNTH] makes a synth row

   • ENV 1 ATTACK1(0…50)

     the menus recommend at least 1; 0 is likely to click

     Press (SELECT), ENV 1, then ATTACK / DECAY

   • ENV 1 DECAY17(0…50)

     0 is the shortest decay, 50 the longest

   • ENV 1 SUSTAIN0(0…50)

     0 decays away to nothing, which is what a drum does

   • ENV 1 RELEASE5(0…50)
   • ENV 2 ATTACK1(0…50)
   • ENV 2 DECAY6(0…50)

     this is how fast the pitch falls

   • ENV 2 SUSTAIN25(0…50)

     p.125: on a pitch destination 25 is the note itself, and below 25 goes flat

   • Modulation — ENV 2→Pitch / Transpose: Overall · DEPTH22(-50…50)

     0 is no modulation

     Positive lifts the attack above the note

     In PITCH, pick ENV 2

   • DECIMATION12(0…50)
   • BITCRUSH6(0…50)
   • EQ BASS AMOUNT33(0…50)

     25 is neutral; above boosts

   • SWING50%(1…99 %)song-wide

     50 is off, above is late, below is early — song-wide, not per clip

     Hold [SHIFT], turn (TEMPO)

2. 2Clean sine kick, long body, gentle pitch dropkick · dark

   • CLIP TYPEKit(Synth, Kit, Audio, MIDI, CV)

     From clip view: [SHIFT] + [KIT] or [SYNTH]

   • OSC 1 TYPESine(Sine, Saw, Square, Triangle, Analog Saw, Analog Square, Wavetable, Sample, IN, INL, INR, INLR)

     [AUDITION] + [SYNTH] makes a synth row

   • ENV 1 ATTACK1(0…50)

     the menus recommend at least 1; 0 is likely to click

     Press (SELECT), ENV 1, then ATTACK / DECAY

   • ENV 1 DECAY26(0…50)

     longer than the hard kick — this is the body

   • ENV 1 SUSTAIN0(0…50)

     0 decays away to nothing, which is what a drum does

   • ENV 1 RELEASE8(0…50)
   • ENV 2 ATTACK1(0…50)
   • ENV 2 DECAY11(0…50)

     slower than the hard kick — the drop is a fall, not a click

   • ENV 2 SUSTAIN25(0…50)

     p.125: on a pitch destination 25 is the note itself, and below 25 goes flat

   • Modulation — ENV 2→Pitch / Transpose: Overall · DEPTH13(-50…50)

     0 is no modulation

     Positive lifts the attack above the note

     In PITCH, pick ENV 2

   • EQ TREBLE AMOUNT18(0…50)

     25 is neutral; below cuts

   • EQ BASS AMOUNT34(0…50)

     25 is neutral; above boosts

   • SWING50%(1…99 %)song-wide

     50 is off, above is late, below is early — song-wide, not per clip

     Hold [SHIFT], turn (TEMPO)

3. 3Synth tom on a kit row — triangle with the pitch falling into the bodytom · dark

   • CLIP TYPEKit(Synth, Kit, Audio, MIDI, CV)

     From clip view: [SHIFT] + [KIT] or [SYNTH]

   • OSC 1 TYPETriangle(Sine, Saw, Square, Triangle, Analog Saw, Analog Square, Wavetable, Sample, IN, INL, INR, INLR)

     [AUDITION] + [SYNTH] makes a synth row

   • ENV 1 ATTACK1(0…50)

     the menus recommend at least 1; 0 is likely to click

   • ENV 1 DECAY28(0…50)
   • ENV 1 SUSTAIN0(0…50)

     0 decays away to nothing, which is what a drum does

   • ENV 1 RELEASE9(0…50)
   • ENV 2 ATTACK1(0…50)
   • ENV 2 DECAY13(0…50)

     twice the kick’s, so the pitch falls into the body rather than through it

   • ENV 2 SUSTAIN25(0…50)

     p.125: on a pitch destination 25 is the note itself, so the tom settles where it was played

   • Modulation — ENV 2→Pitch / Transpose: Overall · DEPTH11(-50…50)

     0 is no modulation

     Half the kick’s lift, since a tom falls a tone or two, not an octave

     In PITCH, pick ENV 2

   • EQ BASS AMOUNT31(0…50)

     25 is neutral; above boosts

   • EQ TREBLE AMOUNT20(0…50)
   • REVERB AMOUNT8(0…50)
   • SWING50%(1…99 %)song-wide

     50 is off, above is late, below is early — song-wide, not per clip

     Hold [SHIFT], turn (TEMPO)

4. 4Analog square let ring, flanged so the partials beat against each otherride · bright

   • CLIP TYPEKit(Synth, Kit, Audio, MIDI, CV)

     From clip view: [SHIFT] + [KIT] or [SYNTH]

   • OSC 1 TYPEAnalog Square(Sine, Saw, Square, Triangle, Analog Saw, Analog Square, Wavetable, Sample, IN, INL, INR, INLR)

     [AUDITION] + [SYNTH] makes a synth row

   • ENV 1 ATTACK1(0…50)
   • ENV 1 DECAY38(0…50)
   • ENV 1 SUSTAIN0(0…50)
   • ENV 1 RELEASE24(0…50)
   • DECIMATION21(0…50)
   • BITCRUSH11(0…50)
   • MOD FX TYPEFLANGER(OFF, FLANGER, CHORUS, PHASER)
   • MOD FX RATE9(0…50)

     Slower than the part, or the flanger becomes the rhythm

   • MOD FX FEEDBACK22(0…50)
   • EQ TREBLE AMOUNT30(0…50)
   • REVERB AMOUNT16(0…50)
   • SWING50%(1…99 %)song-wide

     50 is off, above is late, below is early — song-wide, not per clip

     Hold [SHIFT], turn (TEMPO)

5. 5Square driven into the aliasing, which is where the inharmonic partials come frommetallic · bright

   • CLIP TYPEKit(Synth, Kit, Audio, MIDI, CV)

     From clip view: [SHIFT] + [KIT] or [SYNTH]

   • OSC 1 TYPESquare(Sine, Saw, Square, Triangle, Analog Saw, Analog Square, Wavetable, Sample, IN, INL, INR, INLR)

     [AUDITION] + [SYNTH] makes a synth row

   • ENV 1 ATTACK1(0…50)
   • ENV 1 DECAY21(0…50)
   • ENV 1 SUSTAIN0(0…50)
   • ENV 1 RELEASE12(0…50)
   • DECIMATION34(0…50)

     p.217: high frequency content is lost and heavily aliased frequencies are introduced

   • BITCRUSH19(0…50)

     p.217: sharp corners on the waveform, and quiet sounds become louder

   • EQ BASS AMOUNT17(0…50)

     25 is neutral; below cuts

   • EQ TREBLE AMOUNT33(0…50)
   • REVERB AMOUNT12(0…50)
   • SWING50%(1…99 %)song-wide

     50 is off, above is late, below is early — song-wide, not per clip

     Hold [SHIFT], turn (TEMPO)

The page behind any of these values is in Parameter sources below, under the name it is printed with here.

Open the full kit, with every sound laid out