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Sound Design is one of the most fun parts of electronic music production.
But sometimes you can get stagnant, using the same techniques and sounds
over and over.
So no matter where you are on your sound design journey, here are 100 tips
to take your sounds to the next level.
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Read that again. And again. Nobody cares if every sound in your music is
made from scratch or not. They just care if the music is good.
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Highs too wild? Smash them. Lows aren’t consistent? Smash them. Nasty
resonances in the high-mids? Smash them (or at least, control them).
Why? Because the more complex the sound, the better, right?
Wrong.
Use the least sources necessary to achieve the sound you’re going for.
/
Use another synth, like the 5 that probably came with your DAW that you’ve
never touched.
Some examples:
Working in audio allows you to see what you’re doing at every point in time,
and opens up the possibility
If you’re making bass music, you can get some sick growls and basses from it.
Synths like Serum have some FM capabilities, but to get really into it you’ll
want a dedicated FM synth.
/
Ableton’s Operator is a simple yet effective FM Synth
Then you stumble across something really cool for a second but you keep
tweaking and it becomes worse.
Suddenly, you forgot how to get back to that awesome sound you were at.
No problem, just record all your parameter tweaks and note playing as you
go by hitting record. Or if you prefer, just record the audio.
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You’ll thank me later.
This saves time when in the track-writing phase so you don’t have to
overthink about the whereabouts of your key sounds.
Many VSTs and plugins have a favourite or star-rating feature, or you can
save presets in your DAW library.
The best part is that there are so many types: soft-clipping, hard-clipping,
tube, tape, fuzz, diode, overdrive, bitcrushing, downsampling, waveshaping,
wavefolding and many more.
Go nuts.
But at the end of the day, it’s the time spent creating sounds that counts.
/
Whether it’s crazy curves or automated parameters, try using EQ in
unexpected ways in your next sound design session.
A fast way to overcome this fear is to just start tweaking and see what
happens.
Maybe swap the lter type out, or add in a second oscillator with the original
one up an octave, etc.
You’ll be surprised at the results, and even if they aren’t great, at least you
learned something.
Pick one and roll with it, until you can start to feel the limitations – they tend
to never come, anyway.
Use fast attack and release, high thresholds and ratios, and adjust to taste.
Got some compression after reverb? That could muddy up the sound, so try
switching it around.
OTT after distortion might help to tame the sound more, but distortion after
could help it poke through the mix.
Think about what you want to achieve, and order your FX accordingly.
Why? You’re guring out how it was done. You’re literally learning the steps.
If the highs need lling out, create a layer that does that.
In fact, you could have two completely different sounds that share the same
ADSR envelope and reverb processing, and they compliment each other.
When in doubt whether a layer works or not, you’re likely better off with
less.
Why?
/
Mud. Phase cancellation. Mix problems.
Less is more.
Well, it’s likely the use of a click or transient sample, layered with a synth.
/
Serum even comes with a bunch of transients you can load into its ‘Noise’
oscillator for this purpose.
/
Tip 25: It’s Not All About The Bass
Let’s be honest, most of you here want to make sick bass sounds.
But sound design is not just about making cool basses for genres like trap,
dubstep and drum & bass.
Leads, pads, FX, keys, bells, brass and much more are other groups of sounds
that you can make unique sounds in. Try it sometime.
If you’re in audio, simply reverse the sound. It can bring a whole new light to
an otherwise vapid sound.
If you’re in Ableton Live, the warp modes are great for this. You have a
variety of options you can choose from, and you can do it in audio or by
loading a sound into a Simpler.
/
Tip 28: Separate Sound Design &
Writing Tracks
We’re big fans of this here at EDMProd.
(https://www.edmprod.com/production-pyramid/)
Why? Sound design can be a very analytical and technical process, whereas
songwriting tends to be more creative and random.
You want to have good sounds you can just drop in rather than spend time
making them or nding them.
So make sure to separate out the process. A lot of the time you’ll nd that a
good sound design session ows nicely into a songwriting one.
100% wet
>1s decay
0ms pre-delay
Little to no frequency dampening
Small room size
/
Tip 36: Convolution Reverb
In my opinion, convolution reverb is one of the most underrated types of FX.
You can make a sound feel like it’s any type of space just by dragging in a
sample (impulse response) in.
The fun happens when you use sounds that weren’t supposed be used as
impulse responses – you get some wacky textures.
I like to combine to instances of this, one fast but subtle and one slow but
more noticeable. This way you get a wow/ utter tape effect.
Audulus
Korg Gadget LE
Propellorhead Figure
DRC
Launchpad /
Check out an older video I made on this topic:
You can edit and process samples into completely new sounds, or even just
use it as is in a new context.
But there’s a lot to be learned from them still. Here are a few good books:
Yet in elds like game design, lm and theatre, sound design is a staple. Of
course, music is a different application, but there is a lot to be learned from
these elds.
Getting ideas from outside of the box might be what your music needs to
take it to another level of uniqueness.
/
Tip 41: Use A Sampler
Sound design isn’t just about saw waves, square waves and sine waves.
Using recorded or pre-existing sounds as the basis for new ones by loading
them into a sampler (Ableton’s Simpler is a personal favourite) can help you
get some great results.
You’ve got all the same processing tools ( lters, EQ, FX) as in a standard
synthesizer, but you’re just changing the source.
Even Serum has a sampler built in – the Noise Oscillator. Drag any audio le
in there and away you go.
Try opposing or ipping these approaches and see what results you get.
You might end up with an unexpected sound that de nes your next track.
/
Tip 43: Make A Sample Pack
The quickest way to get a bunch of unique sounds is to make your own
sample pack.
If you struggle to make certain sounds from scratch, try using existing
samples as the basis for new ones (especially kicks and snares, they tend to
always get recycled in new ways anyway).
Sometimes a preset pack can inspire your sound design process in new ways
that you otherwise wouldn’t have considered.
Even swapping presets but using the same FX chain can yield interesting
results. Serum has this feature where you can lock the effect rack between
presets, so go nuts with that.
/
Tip 46: Try A New Plugin
Before I explain, let me be clear – new plugins are not always the answer.
In fact, too many producers likely overdo the whole new plugin thing. It’s
best to stick to minimal options and learn them inside out.
This is not the case, and silence can be very desirable – both for sound
design and production in general. Try having fewer-note melodies, less
black-hole-type reverb and delay tails, and overall fewer elements/layers in
/
your next track.
They might know more FM synthesis than you, might process sounds
differently and might have different sets of presets.
Simply by closing your eyes and listening to the chatter, to the breeze or to
the traf c, you might actually hear something inspiring.
Combining this with tip 24, you could record the sounds you hear and re-
work them into a more useable context.
Velocity randomisation
Random/noise LFO’s (Serum’s chaos oscillators are a great point to
start)
/
Play notes in with your keyboard, even if you can’t play piano
Use unsynced LFO’s and FX processing
It’s great for creative sound design. It mimics the older work ow of working
with hardware, by allowing you to patch cables wherever you see t.
Additionally, you can save these racks to reuse at any time, so it’s not all over
when you pack it down, like the old days.
/
Oh, and it supports third-party VSTs now.
Jack U and Justin Bieber’s ‘Where Are U Now’ is a great example of this. The
main hook is actually one of Justin’s vocal adlibs processed with distortion
and other FX.
Good stuff.
/
One of these is using a very short, unsynced & mono delay between 10-
30ms and with the feedback adjusted to taste. The result is a very metallic,
energetic sound.
If you want an example, Getter uses it on his track ‘Inhalant Abuse VIP’.
There’s not much point compressing a saw wave as it is from a synth, it’ll
sound very similar (depending on the compressor, of course).
/
Tip 60: Circuit-Bending
Not for the faint of heart, but circuit-bending is a practice that can yield the
strangest yet the dopest sounds. In essence, you take electronics and adjust
the circuits so they output different sounds in comparison to what they
originally did.
Here’s a great video from Switch & Lever that explains it well:
/
Credit: Cycling 74
Getting under the hood and guring out how plugins and devices are made
can inspire your own devices that could add a unique addition to the studio.
Try loading up your favorite EQ and switching between presets. You might
nd one that affects your audio in a really cool way.
/
Recommended: Mixing EDM: The Complete Beginner’s Guide
(https://www.edmprod.com/mixing-edm/)
Something like Max for Live’s LFO device will allow you to modulate
anything. If you’re not in Live, you might have to do this in automation or use
something like Cableguys MIDI Shaper
(http://www.cableguys.com/midishaper.html).
I know it’s something I overlooked a lot in the early days, and to a degree, I
still do now.
/
Reverb
Delay
Phaser
Flanger
Chorus
Stereo Widener (obviously)
Stacking too many of these effects might result in stereo mud. To avoid this,
consider eliminating the effects or using them in mono mode (setting a
‘phase’ control to 0 degrees also does this).
Why? Because if you have overlapping bass sounds, instead of increasing the
amount of bass, you might actually be reducing it.
These two waveforms will result in silence, as they completely oppose eachother.
/
Need I say more?
Maybe recreate what your idea of a black hole sounds like? Or maybe make
an underwater-type lead.
Most presets and sounds have been done before, so adjusting existing ones
to be slightly different could be all you need to curate your unique sound as
a producer.
So whether you use them as-is, with some processing or layer them with
digital sounds, you’ll get a nice result.
/
Tip 74: Don’t Neglect MIDI Effects
MIDI effects are unspeakably good ways to get fun and interesting sounds.
But the truth is, without solid rhythm, melody and harmony, people won’t
care too much.
In fact, using rhythm, melody and harmony can be a sound design tool in
itself. The piano roll can be used to make fun scale runs, machine gun-like
rhythms and big-layered chords.
/
A few good options for this kind of sound:
Ableton Live
Grain Delay
Granulator
FL Studio
Fruity Granulizer
Third-Party
Soundtoys Crystalizer
The Mangle
If your kick isn’t working, make or nd a new one. Don’t skip over it because
it takes time.
If your bass sounds cool on it’s own but doesn’t work in this track, save it for
next time.
/
Record a sound with a speaker and resample it. That’s how the Star Wars
lightsaber sound was made.
Put tape on your subwoofer and record it rattling when you play a bass. That
way, you’ll get a unique texture to layer in.
The point here is to try random things that nobody else has tried before and
take risks.
So don’t waste time remaking something if it already exists. Spend your time
making new things on top of what others have already done.
/
Tip 81: Phasers, Flangers and
Choruses
Use them to add movement.
Phasers sound thin and airy, angers sound metallic and choruses sound
wide and thick.
Mixing it up can yield very interesting results, even when you go back to
making what you normally make.
This is normal – don’t get discouraged. The more you make, the better you’ll
get, regardless of whether you end up using every sound you make or not.
But remember, sending a sound doesn’t mean it comes back through the
same chain, especially if you use group processing.
/
So you will want to consider processing your sends to shape them to the mix
– EQ, sidechain compression, even volume.
Especially effects like compression and distortion, as these will affect the
dynamics of all sounds and help them to sit in the mix equally.
So instead of stacking things, try panning different layers, and try having
some layers delayed by a 1/8th note, for example.
You might cringe at the thought, but simplicity can be very powerful.
But I never realised that clipping can actually be very useful for adding
colour and saturation to sounds, especially when done in a soft and
controlled manner.
Get creative.
There are a few examples we have talked about: pitching, reversing, time-
stretching and warping etc. but there are other options.
/
CDP (Composers Desktop Project) is an example of this
(https://www.composersdesktop.com/) – in fact BT is an advocate for using
this to process his sounds.
You can adopt this, or nd your own process. The main thing is that you have
one.
Bring something new to the table, rather that using what is tried & true.
So why not apply these techniques to sound design in a DAW? Even if you
don’t own the pedals, replicate the effects with plugins.
So to mix it up, head down to your local cafe and work on sounds there. The
shift in the environment might be enough to discover some new inspiration.
DM them on Instagram. Ask them on their Reddit AMA. Hit them up at their
next show in your city.
Similar to the earlier tip on saving FX chains, this time you want to create an
all-in-one-type rack that can be adjusted to a variety of circumstances.
Maybe you use lter sweeps a lot, so have one macro knob that you can
adjust that turns everything on at once.
Take some time out to read your synth, plugin and/or DAW manuals – you’ll
thank me later.
It’s worth nding a course (paid ones are usually higher-value courses) that
teaches you sound design. Here are our recommendations:
/
Tip 100: Sound Design Isn’t
Everything
You might always keep coming back to sound design as the holy grail of
music production.
But the truth is that sound design won’t solve all of your issues.
If your tracks keep turning out boring, perhaps try putting more energy into
the composition and arrangement of the track.
That’s why we made our EDM Essentials Serum pack for FREE.
(https://app.monstercampaigns.com/c/jih6esa5jmlhwuraepri/)
Any questions? Hit me up at aden@edmprod.com
(mailto:aden@edmprod.com).
Aden Russell
Facebook (https://www.facebook.com/aden.russell.3)
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