Remaking from scratch ㅣIGORㅣ06.NEW MAGIC WAND

3:15 - sample
The drum sample comes from Bruchotin Automatic Band's Adam's Apple. It took 0.22.82～0.34.94 parts to chop and rearrange the diffevent pattern. So I use Slicex here, or you can use any sampler like Serato for more efficiency. And I add 5 db in the hign end to make the percussion sound clear, and 5 db gain in 56 Hz to boost the kick. and -4 and -5.5 db gain around 400 hz and 1800 hz to stand out in a 900 hz round.

4:54 - Distorted Bass
For this sound, it is actually easy in the synth part; the most important thing is all about the distortion. You need a controlable amp distortion and clipper. What I use here is a RAMMFIRE amp from Guitar Rig 6 and a TR5 Classic Clipper.
So I start with a sine and saw wave (-12 semitone & -8 db),  and then add the mplifier and select Vintage mode. The gain knob is how much volume you decide to use to trigger the drive, and the master is the total volume after being distorted. So I set the gain to 8.6, master to the max, and the bass to 10; mid to 3.3; triple the 4.0. And then add the clipper to distort it further, which makes the sound harder. Because some low frequency is squeezed out. Then take the samples as sidechains to compress them, leaving some space for the drum. and a ProMb, boost 125 Hz and 2200 Hz around to supplement some dynamics.
For the squeeze effect at the end of every two bars, I accomplished it by adding an EQ with a 12 DB gain at 2000 Hz and then triggering it by envelope.

7:59 - EP
The left sound in the verse that gives the dark and unsettling vibe with the bass is an electric piano. So I took a stage 73, and selected Mark V B mode, which sounds thick and plump in the bass range. and I felt some hammer hardness. Then I record it as a sample and put it in the pigments. Because I need a more controllable value curve, If you just play it in stage 73, it's going to be a crush with other instruments in the mixing. And then I set the decay to 1.27 s, an 8 dB gain in PARAMEQ. Add a Radditor and Decapitator to to add saturation.

15:44 - Bell

The bell sounds are very detuned, have a huge reverb, and more as a sound effect to fill in the gaps in the transition. So I use a mix of square and rectangular waves. set the PW to 65.8. The bell key is created by setting the filter cutoff to 307 Hz, reso0.6 with Keytracking, and the decay to 968 ms, sustain to 0, and release to 677 ms in the loudness envelope. Then I raised the second OSC's detune to 205st, giving 0.34 spread around in stereo mode. That's a wide and detuned feeling. I wanted it to sound a little dirty, so I added an overdrive to it.

17:44 - horn
The train horn sound is basically a sawtooth wave with a fast rise and fall in pitch. with the huge reverb and chorus. If you want to get an exact sound, the key is the harmonics. I don't know how Tyler made it; maybe it was just a sound sample. Here I do something pretty simple: compare the original one to cut and boost in ProQ. You can try a bit more to get a sound like the original.

21:40 - friction
This sound sounds like a helicopter or a revving engine sound. It created by a saw wave and noise with a filter modulated by the LFO. So I start with the saw wave, grain and coarse it with PHASE MOD and WAVEFOLDING as sound body, and add a white noise as air sound. Set VCA ENV with 15 ms attack, 2.6 s decay, and 0 sustain. With full KBD and the cutoff set to 1742 Hz in the filter, modulate it by LFO. The LFO rate is around 8.14 Hz, which is a medium speed for a revving engine. And turn the waveform to traingle. And add a tape distortion to help emphasize harshness and messiness in the final sound.