Synthstrom Audible Deluge: build a kit

5 drum sounds this box makes on its own, in the order to build them.

Record each hit with the sampler, recorder, or DAW you use.

This block draws on the Deluge Official Guidebook OS 4.1 (OLED), pp.18-225 and the Deluge community firmware release_1_2_1; its values are starting points.

Everything else about the Synthstrom Audible Deluge

1KICK 1Synth kick on a kit row — sine, fast pitch drop, decimated
kick · 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 2Pitch / Transpose: OverallDEPTH22(-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)
Record one hit with your recorder as KICK 1.
2KICK 2Clean sine kick, long body, gentle pitch drop
kick · 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 2Pitch / Transpose: OverallDEPTH13(-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)
Record one hit with your recorder as KICK 2.
3TOM 1Synth tom on a kit row — triangle with the pitch falling into the body
tom · 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 2Pitch / Transpose: OverallDEPTH11(-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)
Record one hit with your recorder as TOM 1.
4RIDE 1Analog square let ring, flanged so the partials beat against each other
ride · 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)
Record one hit with your recorder as RIDE 1.
5METALLIC 1Square driven into the aliasing, which is where the inharmonic partials come from
metallic · 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)
Record one hit with your recorder as METALLIC 1.

Not in this kit

Bring snare, clap, rim, closed hat and open hat from another box or a sample library.

1KICK 1Synth kick on a kit row — sine, fast pitch drop, decimated

2KICK 2Clean sine kick, long body, gentle pitch drop

3TOM 1Synth tom on a kit row — triangle with the pitch falling into the body

4RIDE 1Analog square let ring, flanged so the partials beat against each other

5METALLIC 1Square driven into the aliasing, which is where the inharmonic partials come from