FUNDAMENTALS IN SYNTH PAINTING - Part 3: Punchy Serum Percussion with Lonneker

In this Lux Cache tutorial series, we dive into the essential components of synth painting, training the ability of being able to create the sounds that are in your head. In this tutorial, Dutch experimental pop producer and sound smith Lonneker explains how to create punchy and snappy drums using world renowned synth engine, Serum, as well as intermediate to advanced LFO and envelope manipulation, and post processing in Ableton. Along with this tutorial, Lonneker has provided the Serum presets walked through, as well as a sample pack featuring all the sounds created in this tutorial. This tutorial is available as both a Patreon text post and .pdf document format - . We ask you kindly to not share Lux Cache content outside of the Patreon, our contributors rely on your donations.

This tutorial is available as both a Patreon text post and .pdf document format. We ask you kindly to not share Lux Cache content outside of the Patreon, our contributors rely on your donations.

All preview sounds/clips mentioned in this tutorial can be found in this private SoundCloud playlist or this accompanying Google Drive folder.

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Contents

Basic Sharp Kick Breakdown

1. Serum
2. Ableton Effects

Sharp Noise Snare

1. Serum
2. Ableton Effects

Conclusion

Basic Sharp Kick Breakdown

For the kick we are going to make a more transient based kick here is a preview of what we are going to make using Serum and the stock Ableton effects.

~ Kick Final Render.wav ~

Quick tip when duplicating the rack for the end result you will get a different version of the kick and I don’t know why please... I would like to know why...

We are going to break it down using these steps:
~ Serum
~ Ableton Effects
~ First Render & Polish
~ Final Render

1. SERUM

1.1. Wavetable

For both the wavetables we are going to use Sine waves but instead of using the “Basic_shapes” sine wave we are going to the “Analog_BD_Sin” which is also just a sine wave but it has a little bit of texture to it(which we won’t hear in the first few steps of the kick. For the rest we are going to leave it mostly untouched apart from OSC B being an octave higher and the level of it turned all the way down.

We have changed the following:
OSC A + B WaveTable -> Analog_BD_Sin
OSC A + B RAND -> 0% Base
OSC B OCT -> Octave +1

After doing this you would just have basic Sine Sub.

~ Step 1.wav ~

1.2. Coarse Pitch

For step two we are going to build a transient. We are going to do this by using pitch modulation and FM.

We will start with the pitch modulation. For this we are going to use LFO 2 (Doesn’t matter too much which one you use, but for ease, I used this one) and we are going to use this shape.

To get this shape easily I went to the LFO preset folder and used Basic -> Flat 50 and then added the last marker and smoothed the curve a bit. For the rest we are going to turn off the “BPM” node and put the rate of it to 3.6 Hz and the mode of the LFO to ENV so that it retriggers when a note is played.

We are going to link this LFO to the Coarse of both the wavetables, putting the coarse pitch at 80.

We have changed the following:
OSC A + B CRS -> Base - || 80% LFO 2

After doing this we are going to have a more transient start and it kind of already resembles some sort of kick

~ Step 2.wav ~

1.3. FM

For step 3 we are going to set up the FM modulation which is very simple, but we are going to need to set up a new LFO. I used LFO 1 for that since most of the modulation is coming out of this one. It’s perhaps a bit of weirder LFO but I had in my mind that the transient would hit and quiet down just for a little bit making it sound like it was sidechaining the bass/sub part of the kick. Setting the rate to 1/8 but you can play around by turning the bpm off and see what sounds best. Also putting the mode to ENV again which we are going to do for all LFO being used.

With this LFO we are going to link to the FM and the Level of OSC A with this we want to achieve a bigger punch/transient to the kick

We are going to link the LFO 1 to 2 things
Warp OSC A -> 8% base || 25% LFO 1
Level OSC A -> 75% base || 100% LFO 1

With these steps we have something like this. Giving the transient a put more strength and cleanness.

Step 3.wav

1.4. Filter

With step 4 we are going the setup up the filter which is going to be a “MG low 12” filter which is a lowpass filter. For the modulation of it we are going to use LFO 1. With this we are shortening the kick and adding a high snappy transient to the kick.

We are going to change and link it to LFO 1 with the following things
Filter OSC A + B -> ON
Filter CUTOFF -> 53HZ base || 100% LFO 1
Filter RES-> 0% base || 33% LFO1

With these steps the kick will sound a bit more toned down and shorter.

Step 4.wav

1.5. More transient, More OOMF
Step 5 is a few little small things combined that are also all linked to one LFO. We are going to use LFO 3 for this one. The LFO is going to be a pretty sharp LFO with the BPM node turned off and the rate set to 27.4 Hz. Making it very fast which is what we want because we only want to make a little bit more punchy.

We are going to be linking this LFO to 3 things.
OSC B -> Level 0% base ||100% LFO3
OSC Sub -> Level 0% base ||100% LFO3
Noise -> Level 0% base ||7% LFO3

We are also going to set the sub 2 octaves higher and for the noise we are going to use Analog -> ARP white.

After these steps the kick will have a bit more of a transient punch. Not a lot of difference though.

~ Step 5.wav ~

1.6. Effects

For the last part of the Serum part of this kick breakdown we are going to be adding the serum effects. We are going to be using:

Hyper/Dimension
Distortion
Delay
Compressor

The layer order of the effects are the same as the order that the list above is.

For the Hyper/Dimension we are not going to touch the “dimension” part of the effect but only the “hyper” part. We are using this to make the kick a lot wider. I used this effect for a lot of things, it makes, to my ears, sounds that are in your actual world or something.

Variables Changed
HYPER/Dimension -> RATE 0% base
HYPER/Dimension -> DETUNE 21% base
HYPER/Dimension -> MIX 100% base || -100% LFO1

Doing this will widen the sound it also makes it lose a lot of bass and such, but that will be regained later.

~ Step 6_1.wav ~

For the distortion we are only going turn up the drive to 51%

Variables Changed
Distortion -> DRIVE 51% base

For the delay we are going to make a very short delay, only using this to make a little wider using the PING – PONG mode

We are going to change and link it to LFO 1 with the following things
Delay -> Feedback 0% base
Delay -> LEFT+RIGHT 1/256 notes
Delay -> Mix 70% base || -73% LFO1

With these effects added it sounds like this.

~ Step 6_2.wav ~

For the last effect, which is the compressor, we are going to change a few things.

Compressor -> ATTACK 0% base
Compressor -> Release 100% base
Compressor -> Gain 9.6DB base
Compressor -> Mix 37% base || 64% LFO1

With all these steps done we have the Serum part of the kick out of the way. After doing these steps you will have something like this that is the base of our kick which we will now add effects on top of.

~ Step 6_3.wav ~

2. Ableton Effects

For the effects on this kick we are going to use the following

Compressor
Utility(Bass mono)
EQ8(EQ)
Saturator
Corpus

And the most important two are the Saturator and Corpus (Kick Tight Preset)

2.1. Compressor

I used the compressor to kind of normalize the top transients because instead of using the rendered out sample you use Serum for the kick you would have a bit more of consistent loudness of the kick

2.2. Utility

I used the utility to make the lows mono which is a thing you could do, sometimes it is fun to have haha wide bass though.

2.3. Saturator

I use pretty much just the init version of saturator and I put the drive a bit up to make the kick more aggressive sounding and helps out a lot when mixing the kick, making it harder to make the kick to clip in the track while still having close to the same audio level.

It will now sound a lot closer to the end kick already.

~ Step 7.wav ~

2.4. Corpus

For the Corpus we are using the Kick tight preset of Corpus, saw this trick a few years ago from a tweet of a producer (might have been Krane maybe) and I haven’t stopped using it. It really adds like a nice snappy/clicky transient to it making it way more audible in mixes and such

With corpus now on it’s a lot sharper.

~ Step 8.wav ~

2.5. EQ8

For the EQ’s we are boosting the highs, the mid-low range and cutting out some of the mids

This render will also count as our first real render of our kick, we are just going to play it a few times and pick one of the ones that we like the most, they will mostly sounds identical but there is always a tiny difference between them

~ Step 9.wav ~

First render and polish

This will be a short chapter since honestly the kick is pretty much done for me personally, you can of course go even more into it making it all weird or making it even snappy but for me this kick is good for the purpose that I had in mind. I only go and EQ it a bit more, cutting out the frequency that hurts my ears or doesn't sound so good.

We will for this kick fade out the end of the rendered kick making it have a shorter release and more of kick then an 808. For how long this should be depends very much on what you want to use it for, it also not very much destructive you can always just go back and change it again.

Final render

So with all these steps have done we have made the following kick

~ Final Render.wav ~

This type of kick I would personally use for more pop type of tracks but can also be very cool for when thrown in granulator, for example, because of its loud transient combined with some resonance form corpus and grain delay you can have some very cool metallic textures.

~ Granular.wav ~

no I am not going to activate my windows 😉

Sharp Noise Snare (SOPHIE inspired)

For the snare we are going to make a SOPHIE style white noise snare, we won’t be making a direct copy of one of those snares, but we are what I am assuming using a somewhat similar technique on how to achieve such a sound. Though I do think there is a lot more layering involved in her sounds. Even though the base is in Serum we are going to heavily rely on audio effects, just like the kick it will give it a major change and shape it up to an actual useful piece of drum.
With the effects we are going to be using a Third party Distortion plugin called “TwinCrusher” is also used, Don’t worry it is free. I got it recommended to me by 067eoin and it’s pretty great.

We are going to break it down using these steps:
~ Serum
~ Ableton Effects + Polish
~ Final Render

And we will end up with something like this

~ Snare Final Render.wav ~

3. Serum

3.1. OSC

For this sound we are going to be using the Noise OSC and the sub OSC(can also be OSC A or B just have to a sine wave)

We want to have a lot of high frequency noise so we are using the BrightWhite noise, though I also like to use the “FP_Inharms” noises and pitch those up a lot. There are some create white noises in there . We are changing:

OSC SUB DIRECT OUT -> ON
OSC SUB OCTAVE -> -3 oct
OSC SUB LEVEL -> Base 0%
OSC NOISE -> Noise to BrightWhite
OSC NOISE PITCH TRACKING -> on
OSC NOISE LEVEL -> Base 0%
OSC NOISE PITCH -> 8 st

3.2. LFO

For step 2 we want to set up the LFO, we are only going to use 1 LFO which will be LFO 1 and will control everything that needs to be modulated with that. To achieve this shape quickly we first make a fall shape and turn up the grid to 16.

Then we will add another point in the LFO at the second horizontal line and the first vertical line. Then we want to make both of those shapes a bit more sharper close to this.

With this LFO we are going to modulate only 2 things which is the levels of the Noise and the SUB OSC’s

We are going to setup the modulations like this:
OSC SUB -> Base LEVEL 0% || 23% LFO 1
OSC NOISE -> Base LEVEL 0% || 100% LFO 1

With this done we have something like this which already sound like a clap

~ Step_1_Snare.wav ~

3.3. FILTER

For step 3 we are going to set up the filter which is more like going to be used as an EQ. This is honestly the main part of what makes it sound like that. With this filter we are going to boost a small range of high frequency by a lot creating that very high pitched effect.
For that to happen we are going to change to following

FILTER -> OSC N + S ON
FILTER TYPE -> High 12
FILTER Cutoff-> 3401 HZ
FILTER RES-> 81%
FILTER Drive-> 100%

With this changed we already are starting to hear that SOPHIE high pitched type snare.

~ Step_2_Snare.wav ~

3.4. SERUM FX

For the serum FX we are going to use the Hyper/Dimension to create a bit wider/louder sounds, an EQ to boost a bit more frequencies and a compressor. None of this will be modulated.

The effect chain will be Hyper/Dimension -> EQ -> COMPRESSOR

For the Hyper/Dimension we once again only use the Hyper part, creating a bit wider and overall louder sound.

We are going to set it as:
HYPER Rate -> 0%
HYPER DETUNE -> 35%
HYPER MIX -> 22%

With the Eq we are going to be boosting one more area in the high frequencies

We are going to set it as:
EQ FREQ -> 3955HZ
EQ Q -> 52%
EQ Gain -> 13.1 dB

Oh and at last we want to change the Master volume at bit down, we are going to set it at 54%

With this we have something that sounds like this:

~ Step_3_Snare.wav ~

This will be the base of the snare, we will now be adding audio effects to it.

4. Audio effects

For the audio effects we are mostly going to use effects that make the snare louder and a bit distorted. Nothing really special is happening in here but we will go through these one by one just to see what does what in the instance.

4.1. Saturator 1

So for the first saturator and actually all the saturators in the rack we are going to use just the default preset of Ableton and cranking up the drive of it. Though we do want to put on soft clip and turn down the output down so we have some more room for more distortion😉

Having this done actually makes the snare a bit more softer and less louder. We do need to have that room, but with that you might think we could have just turned down the snare in volume. This does add saturation/distortion to the snare that we need for later.

~ Step_4_Snare.wav ~

4.2. EQ 1

The first EQ’s purpose is mostly to boost frequencies, we do cut out a little bit of the low and that we don’t hear and need.

A quick tip when using EQ Eight of Ableton is to turn on that headphone icon that I turned on blue for me, meaning it is on. Turning it on means when you select an EQ point it will solo out what frequency it affects. For boosting it’s most of the time not needed because you mostly focus on the total sound of it but when cutting out any harsh or unwanted frequencies you can really easily pinpoint and remove those using this tool.

~ Step_5_Snare.wav ~

4.3. Drum Buss

From the Drum Buss we want to get more transient to snare and also some low punch, we do not want to add drive or crunch but changing the setting from soft to hard still changes the sound making it more harsh and distorted and that’s what we want. Though as you can hear when adding this it leaves an extra with noise behind that we couldn’t hear before, we will have to remove that and we will do that a bit later using a gate.

~ Step_6_Snare.wav ~

4.4. Saturator 2

Going to make it a bit louder.

~ Step_7_Snare.wav ~

4.5. EQ 2

With this eq we are mostly removing some potential hazards that will be distorted too much when we are going to be adding distortion in the next few steps, though we are also adding a bit more high frequencies to it.

~ Step_8_Snare.wav ~

4.6. Gate

With the gate we are removing the unwanted tail that we got from the Drum Buss.

~ Step_9_Snare.wav ~

4.7. TwinCrusher

So for the TwinCrusher, which is a third party plugin, we are using it to distort, but we only want to distort the highs and with this plugin you can do that. With this plugin it splits the frequencies between the high and lows which is where they split with the middle knob of the plugin. So no split we can put up the drive and the gain of the highs without distorting most of the lows.

With this it really starts to get close to the end result.

~ Step_10_Snare.wav ~

4.8. Saturator 3

With saturator 3 we are kind of doing the same as we did with the first saturator, we make it quieter and not clip and also distorting the sound. And also removing/normalizing the transient of the sound which will help us a lot out when using the sound in an actual track. It will still sound loud and clear but it will not clip the track.

~ Step_11_Snare.wav ~

4.9. Compressor

I have to be honest that I am not the most expert on a compressor so I did this based on my ears and not really with a technique but with this we add a lot more punch and overall harshness to the snare. It makes it sound way more aggressive which will hopefully make or snare stand out more in the mix of a track.

~ Step_12_Snare.wav ~

4.10. EQ 3

This EQ serves as a cleanup/polish of the sound removing some of the harsh noise in the snare. We won’t really have to have multiple renders for this sound since it’s kind of already based on a none changing noise sample which will mean that when played as midi the snare will remain mostly the same.

4.11. Final Render

We do want to render this sound out a sample since you don’t really want to use a snare rack as your snare of your track. Way easier to render it out and use the sample, since there is no difference between playing them in the rack or playing the sample. It just saves a lot of CPU power on your PC. If you do have a rack where there is some difference each time you play it might be better to play with that first, but in the end you will always need to render it down to a sample because you just want to know what it actually sounds like in the end.So for the Final render of this SOPHIE inspired type snare we have something like this:

~ Final Render.wav ~

5. Small conclusion

Hey thank you for reading my breakdowns of these sounds. They are still quite simple, but I hope you learn a bit from it and hopefully get ideas on how to make some other sounds on your own. If you have questions you can always ask me, when you see something I posted and want to know what I used or how I did it I will try to explain to you what I did, although sometimes I don’t know how to explain it, I will always try!

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Lonneker is a Netherlands based music producer and sound artist. Her recent production for Me&U2, Starlight, is available on Soundcloud. You can follow her on Twitter @Lonneker_ and Instagram @lonneker_music