Patch Sheets

Behringer Crave

Behringer Proton

DX7 & Clones

MicrokorgXL+

Korg NTS1

Volca Bass

Volca Drum

Kicks

Acoustic bass drum

There are many possibilities for creating bass sounds with the Volca Drum. We can start by deconstructing a standard rock bass drum, also called a “kick” drum because of the way it is played using a foot pedal. This sound forms the foundation of the rhythm. The sound itself is brief (less than half a second from start to finish), made up of a low-frequency wave generated by the vibration of the skin resonating within the large shell of the drum, and a shorter, higher frequency wave generated by the initial impact of the beater on the skin. The sound reaches its maximum volume almost immediately and fades away quickly, with the low-frequency element enduring slightly longer than the high-frequency element.

Emulating an acoustic kick

Using the Volca Drum, the low-frequency element can be emulated using a sine wave a, while the high-frequency element can be emulated with a white noise wave e. In reality, the lower frequencies of an acoustic kick drum are slightly more complex than a pure sine wave and the higher frequencies will have particular resonances according to the drum itself and the way in which it is played. However, both of these irregularities can be simulated to some degree with the Volca Drum using the pitch modulation (MOD) settings and the BIT, FLD and DRV effects. See the following page for an example of an acoustic kick drumemulation. From there we can explore a wide variety of kick and bass sounds over the following pages, emphasising other frequencies and tones that will be more effective in other styles of music.

Beyond acoustic kicks

The Volca Drum gives us the ability to create kick and bass sounds that can be more effective than an acoustic kick drum. For example, we can control the pitch to tune a bass sound to the key of the music, extend the length of the sound for a fuller, longer “boom” , add sub-bass frequencies and enhance the sound with other effects for greater clarity on a range of music systems and devices.

Acoustic Kick Drum Emulation

Layer 1 generates the main low frequency element. A brief rise and fall in pitch is created with the amount and rating settings. The amplitude envelope has a fast attack and medium release .

Layer 2 has a low level settings and creates a shorter, softer section of a band pass filtered noise to emulate the sound of the beater hitting the drum, This is tuned to a pitch of 78 to get a reasonably realistic sound. The drive setting is at 71 to add some distortion and gain is boosted to 100 to ensure that the sound is loud enough.

	Layer 1	Layer 2	Processing
LVL	255	18	0
PITCH	20	78	0
SRC	SIN	BP	71
MOD	RMP	RAN	0
EG	LIN	EXP	100
AMT	42	39	0
RATE	188	158
ATT	0	59
REL	115	99

A1 Kick

This is a deep kick drum designed for high-tempo dance music or pop, which is effective on a range of speakers, from big club systems to mobile phones.

QPI is turned on, an both layers are tuned to the note A1, You could tune this to a different note to match the key of your music, Layer 1 is based on a sine wave which uses the exponential pitch modulation envelope to create a pitch slide, generaating a higher frequency attack section and a lower frequency main body. The pitch slides up rapidly at the start of the sound and the nfalls to the PITCH that been specified (the note A1). Layer 2 has a medium EG REL setting using the exponential EG wave to create a kick sound that is long enough to make an impact but short enough to leave space for a bassline in a high-tempo track.

Layer 2 adds another level of high frequency detail to help it stand out on smaller systems, with a faster pitch slide createdby the pitch modulation settings to generate a subtle “zap”. Layer 2 is turned down to a volume LVL of 47 to balance it with the main kick sound of Layer 1, The FLD and DRV effects are also used to create more character and high frequency detail.

Try reduxing the FLD setting to 0 transform this into a very soft, smooth kick. A lower REL value will create a shorter kick to give more space for a bassline in a faster track (so that the kick and following bassline notes do not overlap too much).

	Layer 1	Layer 2	Processing
LVL	255	47	0
PITCH	A1	A1	78
SRC	SIN	SIN	24
MOD	RMP	RMP	0
EG	EXP	EXP	0
AMT	39	60	0
RATE	144	130
ATT	0	0
REL	147	95

A1 Kick Long

This is a very long kick drum that is well suited to a low tempo rhytms in which the kick has time to fade away before it is triggered again. For example, it could be used as little as once in a 16-step pattern, or perhaps twice. Try it on step 1 and step 14c oa 88bpm.

This is identical to the original A1 Kick except for the Layer 1 RELEASE time, which is now at the maximum 255 setting. This causes the main low-frequency wave to remain audible for much longer.

Try reducing the RELEASE time if the sound is too long. Also try increasing the FLD and DRV settings to make the REL phase more audible on smaller speaker systems.

	Layer 1	Layer 2	Processing
LVL	255	47	0
PITCH	A1	A1	78
SRC	SIN	SIN	24
MOD	RMP	SMP	0
EG	EXP	EXP	0
AMT	39	60	0
RATE	144	130
ATT	0	0
REL	255	96

Chip Kick

This uses a single layer to create a harsh, digital sounding kick drum that is reminiscent of the 8-bit computing era. A sawtooth wave creates the body of the sound (tuned to A1 in this example). The BIT, FLD and DRV effects add harmonics in the upper mid-range. Pitch modulation using a Rise/Fall shape generates an ATTACK section with higer frequencies. The exponential Attack/Release wave creates a rapid ATTACK and medium RELEASE phase. The LEVEL of Layer 2 is set to 0, so the remaining Layer 2 settings have no effect.

	Layer 1	Layer 2	Processing
LVL	255	0	255
PITCH	A1	-	76
SRC	SAW	-	255
MOD	RMP	-	0
EG	EXP	-	0
AMT	28	-	0
RATE	128	-
ATT	0	-
REL	133	-

Tight Kick Short

Layer 1 and Layer 2 both use a sine wave (tuned to A1 in this case). The AMOUNT, RATE, ATTACK and RELEASE settings are slightly different for each layer, which helps to create a distinct attack section with higher frequencies and longer, deeper and to the sound. This works well for high tempo rhytms. Try a lower RELEASE setting for Layer 2 to create a shorter sound, or a higher setting for a much longer sound as detailed in Tight Kick Long.

	Layer 1	Layer 2	Processing
LVL	255	47	0
PITCH	A1	A1	78
SRC	SIN	SIN	24
MOD	RMP	RMP	0
EG	EXP	EXP	30
AMT	30	60	0
RATE	77	130
ATT	0	0
REL	120	154

Tight Kick Long

This is very effective in lower-tempo music, whenit might be used only once or twice in a 16-step pattern. It is exactly the same as Tight Short Kick version except for the Layer 2 RELEASE value, which has been increased to the maximum value of 255. This generates a long, deep bass tone after the initial attack section.

Tune the PITCH of both layers to a different note to suit the key of a your music. Try duplicating this sound into another part of the kit (select the sound, hold FUNC, press key 7, press another part key) and tune it to a different note to enable a 2-note bassline.

	Layer 1	Layer 2	Processing
LVL	255	47	0
PITCH	A1	A1	78
SRC	SIN	SIN	24
MOD	RMP	RMP	0
EG	EXP	EXP	30
AMT	30	60	0
RATE	77	130
ATT	0	0
REL	120	154

Retro Rhytm Kick

This is a short, fairly light bass drum, based on the sounds of early rhythm machines such as the Korg Minipops series. You will notice that Layer 1 and Layer 2 are identical. You could program this sound with one layer only, setting the Level of the other layer to 0, perhaps increasing the Gain (GAN) setting to increase the volume. Alternatively, start with these settings for each layer, then make changes to Layer 2 to explore variations of the basic sound.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	24	24	0
SRC	SIN	SIN	0
MOD	RMP	RMP	0
EG	LIN	LIN	0
AMT	42	42	-
RATE	179	179
ATT	0	0
REL	112	112

Urban Underground Kick

This is a long, hard kick that would be effective at low tempos (below 100bpm) or much higher tempos (above 160bpm). Layer 1 creates a long, deep sine wave a which is distorted by the Fold and Drive effects. Layer 2 generates a short metallic click to add high frequency detail at the start of the sound. Here, the GAN (gain) setting is at -9 to offset the increase in the loudness created by the Fold and Drive effects. You can adjust this to balance it with the rest of the kit. The sound could be tuned to specific notes by turning QPI On and changing the Layer 1 PITCH setting

	Layer 1	Layer 2	Processing
LVL	255	74	0
PITCH	16	70	54
SRC	SIN	SIN	154
MOD	RMP	SIN	0
EG	LIN	LIN	-9
AMT	32	69	-
RATE	126	184
ATT	0	0
REL	255	66

Soft Deep Kick

Unlike most kick drums, this has a fairly long Attack phase, so it sounds softer. It still has a lot of low-frequency rumble. Layer 1 and Layer 2 have different pitches and different ATTACK and RELEASE settings, so the two waves overlap within the same sound. This was inspired by the bass drumin the Jam & Spoon mix of “Age of Love” by Age of Love. The longer Attack settings are an integral part of the warmth in this sound, but if you want more definition at the start of the sound, try increasing the Layer 1 AMOUNT setting. Increase the BIT setting to add higher frequency harmonics.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	G1	D1	78
SRC	SIN	SIN	85
MOD	RMP	RMP	0
EG	EXP	EXP	0
AMT	46	0	-
RATE	145	0
ATT	70	156
REL	140	114

Heartbeat

This is similar to the “Soft, deep kick” on the previous page, using a sine wave a for each layer, offset with different ATTACK settings. Here, both layers have the same PITCH, with longer ATTACK times to create more distinction between the two pulses. As with all of these kick or bass drums, the Pitch setting can be adjusted to suit the key of your music, and the QPI setting can be turned on or off to set the frequency to a specific note or a more precise frequency.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	G1	G1	153
SRC	SIN	SIN	85
MOD	RMP	RMP	0
EG	EXP	EXP	0
AMT	46	0	-
RATE	145	0
ATT	110	156
REL	150	114

Hardcore Warehouse Kick

This is a hard kick drum with a simulated reverb effect created by low-pass filtered noise d from Layer 2. This secondary “whoosh” fades up after the initial ATTACK phase of Layer 1. Layer 1 could be tuned to another frequency to match your music. Layer 2 uses a higher ATTACK setting to delay the low-pass filtered noise d, moving it to towards the end of the sound. Try changing the Layer 2 ATTACK to fit the tempo. The Drive and Gain effects add loudness and distortion. Adjust the Layer 2 LEVEL for more or less of the “whoosh”. Also try adjusting Layer 1 RELEASE time.

	Layer 1	Layer 2	Processing
LVL	255	150	0
PITCH	A1	F0	0
SRC	SIN	LP	255
MOD	RMP	SIN	0
EG	EXP	EXP	100
AMT	40	40	-
RATE	108	255
ATT	0	150
REL	145	157

Snares

Snare theory

A snare drum takes its name from the metal coils or wires that are stretched across the underside of the drum skin. These “snares” create high-frequency noise, which is combined with some mid-range resonance from the drum skin and the main shell.

Simulating a snare drum

The two layers of the Volca Drum make it simple, in theory, to recreate a snare drum sound, using one layer to generate the noise of the snares and the other layer to generate the resonant tone of the main body. The A1 Snare patch in this chapter uses Layer 1 simulate the resonance of the drum, with a sine wave a that has a brief pitch slide at the start of the sound to emulate the intial impact of the drum stick. This is adjusted to a lower volume than Layer 2 to avoid it becoming too prominent in the overall sound. It could be tuned to a specific note using the QPI feature, but in this case it is not. The volume of this resonant tone is not high enough to become a tuning issue within a piece of music.

In the A1 Snare patch, Layer 2 uses a high- pass filtered noise wave c which is varied by the random g pitch modulation (MOD) wave and a multi-peak j ATTACK phase. As with the clap theory, this helps to create a more insteresting and less predictable sound, mainly due to the slight pitch variations that will be different each time the sound is triggered.

A1 Snare

This snare uses the technique of mixing a sine wave a from Layer 1 with a high-pass filtered noise wave c from Layer 2. The pitch of Layer 1 could be changed to suit your music, but this is a subtle part of the sound, so tuning it precisely is probably not necessary. Layer 2 uses the Randompitch modulation wave g to create a more natural and organic sound, with a mediumATTACK setting to give enough time for the Multi-peak EG j setting to take effect, for a slightly more interesting ATTACK section. Adjust Layer 2 RELEASE for a longer or shorter sound.

	Layer 1	Layer 2	Processing
LVL	151	255	0
PITCH	36	156	0
SRC	SIN	HP	0
MOD	RMP	RAN	0
EG	EXP	MUL	0
AMT	50	40	-
RATE	160	255
ATT	0	85
REL	120	121

A1 Snare Short

This is exactly the same as the main A1 Snare sound on the previous page except for the lower Layer 2 RELEASE setting. This changes it dramatically to a shorter, more “clipped” sound that might be preferable for minimal styles, or when you want to keep some space in the rhythm to allow other sounds to make an impact. Changing the Layer 2 RELEASE time can be done while a pattern is playing, and is especially effective during a drum roll, where the sound is triggered in rapid succession. Try changing this setting with the Motion Recording feature enabled.

	Layer 1	Layer 2	Processing
LVL	15	255	0
PITCH	36	156	0
SRC	SIN	HP	0
MOD	RMP	RAN	0
EG	EXP	MUL	0
AMT	50	40	-
RATE	160	255
ATT	0	85
REL	120	90

Metallic Snare

Most of the character in this sound is created by the maximum BIT, FLD and DRV settings. These are all distortion effects which are very effective when applied to a noise wave, as used by Layer 2 here. These effects are always applied to both layers, so the Layer 1 sine wave also gets some distortion. Change the Layer 2 Release time to increase or decrease the amount of distorted noise.

	Layer 1	Layer 2	Processing
LVL	116	255	255
PITCH	C3	C6	255
SRC	SIN	BP	255
MOD	RMP	RMP	0
EG	LIN	LIN	-53
AMT	10	0	-
RATE	123	0
ATT	0	89
REL	114	108

Broken Snare

The Bit Reduction (BIT) and Fold (FLD) effects are used here to generate a crunchy, distorted “lo-fi” snare drum. The Layer 1 sine wave a can be tuned to a specific note if QPI is turned on. Layer 2 uses a band-pass filtered noise wave e with a high PITCH setting, which defines a high resonant frequency for the “snare” aspect of the sound. You can create a longer or shorter sound with the RELEASE knob when both layers or only Layer 2 is selected.

	Layer 1	Layer 2	Processing
LVL	151	255	255
PITCH	41	250	255
SRC	SIN	BP	0
MOD	RMP	RAN	0
EG	EXP	MUL	0
AMT	5	40	-
RATE	88	176
ATT	0	97
REL	126	142

Claps

Clap theory

The classic drum machine hand clap sound is a simulation of an ensemble of hand claps; a group of people clapping at almost exactly the same time. If six people in a room tried to clap at the same time, there would be a slight time difference between each person’s clap, and it is this rapid series of very short sounds that creates that drum machine clap sound. This can be simulated with the Volca Drum by combining a slightly different noise wave from each Layer (perhaps pitched differently, with a mix of HP c, LP d or BP e filtered noise), and the use of the multi- peak j amplitude envelope (EG) setting.

Multi-peak attacks

The multi-peak j EG creates an Attack phase with staggered peaks as it rises to its maximum volume. Each of these peaks can represent a single clap in the overall ensemble. It is necessary to set the Attack length to a value that is high enough to allow the gap between each peak to have an audible effect. The effect can be heard from about 70 and above. Setting different ATTACK values for Layer 1 and Layer 2 will allow for the creation of more “claps”. The sound can be made more “organic” and less predictable with the use of similar but different settings for each layer – specifically, noise type, Mod wave type, AMOUNT, DEPTH, PITCH and RELEASE settings. A Random gMod wave will generate a different clap every time if sufficiently high AMOUNT and RATE settings are used.

Easy Clap

This clap can be made very quickly and easily. The Layer 1 and 2 SRC, MOD and EG waves can be set the same for each layer. The MOD wave can be any type, because the MOD Amount setting for each Layer is at 0, so this has no effect. Low-pass filtered noise d is used for both layers, with different PITCH and ATTACK & RELEASE settings. As described in the Clap Theory section, the multi-peak EG wave jcreates the ensemble of claps. Bit, Fold and Drive create a rougher sound. Try changing the ATTACK and RELEASE settings and hear how it changes those multiple peaks.

	Layer 1	Layer 2	Processing
LVL	62	88	139
PITCH	126	180	255
SRC	LP	LP	255
MOD	SIN	SIN	0
EG	MUL	MUL	0
AMT	0	0	-
RATE	0	0
ATT	110	91
REL	129	127

A1 Clap

This is a progression from the Easy Clap on the previous page. Here, a more complex sound is created with the use of two different noise sources: band-pass filtered e for Layer 1 and high-pass filtered c for Layer 2. Additional movement is created with the use of two types of pitch modulation (MOD): Rise and Fall ffor Layer 1 and Random g for Layer 2. The random g pitch modulation of Layer 2 creates slight variations each time it is triggered, adding more “life” to the sound.

	Layer 1	Layer 2	Processing
LVL	62	88	160
PITCH	121	155	255
SRC	BP	HP	255
MOD	RMP	RAN	0
EG	MUL	MUL	0
AMT	17	45	-
RATE	52	130
ATT	77	90
REL	124	95

Reversed Clap

While this is not exactly a reversed clap, it can be used in a similar way, placed a few steps before a regular clap, creating a build-up to an clap generated by a different part. It uses low-pass filtered noise d and high-pass filtered noise c with high ATTACK settings to create a sound that fades up slowly and stops suddenly. Most of this effect is caused by the high ATTACK and low RELEASE settings of Layer 2. This moves the peak of the exponential Rise and Fall volume envelope i towards the end of the sound. Also try it with the Linear EG

	Layer 1	Layer 2	Processing
LVL	62	255	0
PITCH	126	179	255
SRC	LP	HP	255
MOD	SIN	SIN	0
EG	EXP	EXP	0
AMT	0	0	-
RATE	0	0
ATT	154	189
REL	128	50

Filtered Noise Clap

Layer 1 generates this sound by itself. The Layer 2 Level is at 0, so the other Layer 2 settings have no effect. Layer 1 creates a low-pass filtered noise wave. The MOD settings cause a rapid rise and fall in the resonant frequency of the noise wave. This “zap” is the dominant feature of this sound. In this illustration, the Layer 2 waves have been set in preparation for the sound on the next page, which adds another noise element.

	Layer 1	Layer 2	Processing
LVL	150	0	139
PITCH	122	-	255
SRC	LP	-	355
MOD	RMP	-	0
EG	MUL	-	0
AMT	100	-	-
RATE	96	-
ATT	82	-
REL	138	-

Scratch Clap

Building on the Filtered Noise Clap on the previous page, this sound adds a second element from Layer 2 which is reminiscent of a vinyl scratch effect. This is achieved with a sine wave a pitch modulation (MOD) effect that causes a rise and fall in the resonant frequency of the band-pass filtered noise e of Layer 2. This can be adjusted to fit the tempo of your rhythmusing the Rate knob when Layer 2 is selected. Reduce the Layer 2 PITCH setting for a harsher sound.

	Layer 1	Layer 2	Processing
LVL	90	90	139
PITCH	122	124	55
SRC	HP	BP	255
MOD	RMP	SIN	0
EG	MUL	LIN	0
AMT	100	58	-
RATE	96	80
ATT	82	155
REL	138	116

Smash Clap

This broken, distorted clap sound is created with the use of the bit reduction (BIT) effect and the Random pitch modulation (MOD) wave. Layer 1 is a basic band-pass filtered noise wave e with a Multi-peak j EG wave for a stepped ATTACK section, and a short RELEASE time. Layer 2, with a longer RELEASE time, creates the second part of the sound. Random g pitch modulation with maximum AMOUNT and medium RATE creates a jagged wave. The maximum BIT setting creates an even rougher texture. Adjust the Layer 1 and 2 Release times to change the balance of each noise wave.

	Layer 1	Layer 2	Processing
LVL	255	255	255
PITCH	255	128	0
SRC	BP	HP	0
MOD	RMP	RAN	0
EG	MUL	LIN	25
AMT	0	255	0
RATE	0	128
ATT	108	88
REL	97	130

Minimal Clap

This is a very short, clipped clap sound that works well in minimal styles. It can also be used as a basis for many different clap sounds. Layer 1 uses a high-pass filtered noise wave and Layer 2 uses a band-pass filtered noise wave. The PITCH settings are a semitone apart. This combination creates a quite a rich noise wave overall, with some extra crunch fromthe Drive effect. Try it with a SEND setting of 65 and different Wave Guide settings for reverb and delay effects. See the Wave Guide chapter for some examples. Increase the PITCH settings for a lighter sound.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	D#2	E2	0
SRC	HP	BP	107
MOD	RMP	SIN	0
EG	MUL	MUL	0
AMT	30	0	0
RATE	88	0
ATT	79	129
REL	1	0

Cymbals

White noise

Noise is the main element of cymbal and shaker sounds. A noise wave is a stream of randomly fluctuating high frequencies that make sounds like “s” , “sh” and “ch” , “hhhh” or “f” when a filter is applied. The Volca Drum can generate a noise wave for each layer. When the sine a or sawtooth b waves are used, the Pitch knob controls the frequency of those waves. However, when a noise wave is used, the Pitch knob controls the central point of the filter which is applied to the noise wave. There are three types of filter: high-pass c , low-pass d and band-pass e. High-pass and band- pass filtered noise waves are most effective for cymbal and shaker sounds. Low-pass filtered noise can be used for deeper sounds, such as toms or bass drums. Use the Bit Reduction, Fold and Drive effects to add character.

The metallic “Ting!”

Generally, a cymbal sound will be a combination of some white noise and a shorter, percussive element that simulates the initial strike of the drumstick on the metal. This can be created with a high- pitched sine a or sawtooth bwave fromthe other layer.

Motion sequencing openand closed high hats

Open and closed hats can be done with one sound, motion-sequenced to have a longer release time on certain steps. This can give a more interesting and varied sound as each hit will be slightly different

Metallic Closed High Hat

Layer 1 is simulating the sound of the initial impact of the drumstick on the high hat. It uses the sawtooth wave b at the maximum PITCH setting with a high amount of pitch modulation using the sine wave a MOD setting to creating a metallic “Ting!”. Layer 2 creates the noise element, using a high- pass filtered noise wave c wave at the maximum PITCH setting, with a Randomg pitch modulation wave to introduce an element of chaos. A single part can be used as an open and closed high hat sound if the RELEASE time is adjusted while Motion Recording is active.

	Layer 1	Layer 2	Processing
LVL	56	255	0
PITCH	255	255	0
SRC	SAW	HP	110
MOD	SIN	RAN	0
EG	MUL	MUL	0
AMT	49	56	-
RATE	251	255
ATT	79	45
REL	78	72

Metallic Open High Hat

This simulation of an open high hat cymbal is the same as the Metallic Closed High Hat sound on the previous page except for a higher Layer 2 Release setting. If both sounds are programmed into a kit, the Choke feature can be used to stop the open and closed high hats playing at the same time or overlapping (in a standard drumkit there is only one pair of high hat cymbals, so it would only ever be heard in the open or closed position, not both at once). Hold FUNC, press key 8 (CHOKE) and select the two part keys that correspond to the open and closed hats in the kit.

	Layer 1	Layer 2	Processing
LVL	56	255	0
PITCH	255	255	0
SRC	SAW	HP	110
MOD	SIN	RAN	0
EG	MUL	MUL	0
AMT	49	56	-
RATE	251	255
ATT	79	45
REL	78	72

Razor Hat Closed

This uses the sharp sound of the sawtooth wave, which is almost transformed into white noise with the use of the Random g pitch modulation (MOD) wave, set to the maximum rate. This causes the pitch of the sawtooth wave to change to a random value very rapidly. Layer 2 complicates this very short sound using a high-pass filtered noise wave which uses the Multi-peak jamplitude envelope. The relatively high ATTACK setting provides sufficient time for a series of volume peaks in the white noise. The maximum BIT, FLD and DRV settings create a harsher sound.

	Layer 1	Layer 2	Processing
LVL	100	100	255
PITCH	255	255	255
SRC	SAW	HP	255
MOD	RAN	SIN	0
EG	EXP	MUL	0
AMT	62	56	off
RATE	255	255
ATT	0	41
REL	74	0

Razor Hat Open

To create the “open high hat” version of the sound on the previous page, we go further than just increasing the RELEASE times of both layers. Layer 2 has different AMOUNT and RATE settings, and the ATTACK and RELEASE of Layer 2 have also been adjusted. Not everything in sound design can be explained in purely logical terms. What works for a shorter sound does not necessarily work well for a longer sound. As with all the patches in this book, this is presented as a starting point fromwhich you can create your own sounds, so if it sounds good to you, save it! If not, tweak it.

	Layer 1	Layer 2	Processing
LVL	100	100	255
PITCH	255	255	255
SRC	SAW	HP	255
MOD	RAN	SIN	0
EG	EXP	MUL	0
AMT	62	87	off
RATE	255	14
ATT	0	86
REL	87	107

Synth Crash Cymbal

This can be used in place of a crash cymbal, perhaps on the first beat of a bar to signal the start of a new phrase. Layer 1 generates a fluctuating band-pass filtered noise wave e which is given a fluttery effect with pitch modulation using the sine wave a at a fairly high rate. Layer 2 uses a high-pass filtered noise wave cwith a more subtle pitch modulation setting (AMOUNT and RATE), which moves the filter cutoff position down as the sound fades away. The Bit Reduction, Fold and Drive effects create a crunchy sound fromthe basic noise wave

	Layer 1	Layer 2	Processing
LVL	255	116	113
PITCH	100	234	255
SRC	BP	HP	103
MOD	SIN	SIN	0
EG	LIN	LIN	-40
AMT	39	54	off
RATE	130	8
ATT	6	0
REL	216	252

Shakers

Basic Shaker

Using Layer 1 only, high-pass filtered noise c with a high PITCH (filter) setting creates the basic “shh” sound. This is disrupted with the Random pitch modulation g wave at the maximum rate, and distorted slightly by the Fold and Drive effects. The Linear volume envelope h and a mediumATTACK setting give the sound a softer initial phase. Here, the Linear wave h works better than the Exponential EG wave iwhich delays the body of the sound too much. The Layer 2 LEVEL is 0 (silent), so the remaining Layer 2 settings have no effect.

	Layer 1	Layer 2	Processing
LVL	255	-	0
PITCH	212	-	78
SRC	HP	-	24
MOD	RAN	-	0
EG	LIN	-	0
AMT	26	-	off
RATE	255	-
ATT	100	-
REL	109	-

Shorter Shaker

This is a shorter version of the Basic Shaker from the previous page. The differences are the lower Layer 1 LEVEL setting of 45, and the slightly lower ATTACK and RELEASE settings.The Layer 1 LEVEL has been set at a lower volume to allow this to be used with the ACCENT feature. Place the sound on all 16 steps and experiment with ACCENT on different steps. For example, ACCENT on:

1, 3, 5, 7, 9, 11, 13, 15

1, 5, 9, 13

3, 4, 7, 8, 11, 12, 15, 16

1, 4, 7, 10, 13, 16

	Layer 1	Layer 2	Processing
LVL	45	-	0
PITCH	212	-	78
SRC	HP	-	24
MOD	RAN	-	0
EG	LIN	-	0
AMT	26	-	off
RATE	255	-
ATT	92	-
REL	74	-

Double Shaker

Here, two noise waves c e are used to create the sounds of a forwards and backwards motion of a shaker. Layer 1 provides the sound of the intitial movement with a short, high-pass filtered noise wave c. As that sound fades away, Layer 2 becomes audible, fading up with a long ATTACK setting. Layer 2 is set to a different frequency with the band-pass filtered noise wave e. This creates two sounds, one after the other. The Layer 2 ATTACK of setting 152 is set for a tempo of about 124bpm. Change it slightly to suit different tempos.

	Layer 1	Layer 2	Processing
LVL	255	69	0
PITCH	D♯9	G7	0
SRC	HP	BP	0
MOD	RMP	RMP	0
EG	EXP	EXP	0
AMT	0	0	on
RATE	0	0
ATT	74	154
REL	99	123

Congas

High Conga

This sound can be used as part of a trio of congas, tuned to different notes. These are tuned to D2, A1 and G1, but you could change the tuning of each to match your music. Layer 1 creates a resonant tone at a low-to-midrange frequency (D2). The Attack setting of 51 simulates the softer impact of a hand on the drum, compared to the more aggressive attack associated with a drum and drumstick. Layer 2 creates some realtively low-frequency noise, simulating the brush of a hand on the drumskin. This is panned slightly to the left with a PAN setting of -25.

	Layer 1	Layer 2	Processing
LVL	255	101	0
PITCH	D2	F♯0	255
SRC	SIN	BP	119
MOD	RMP	RMP	-25
EG	EXP	LIN	-30
AMT	64	17	on
RATE	167	133
ATT	51	105
REL	119	108

Middle Conga

Use Choke for cleaner rhythms. The middle conga is the same as the high conga except for its tuning and pan position. This is tuned to A1 and panned centrally with a PAN setting of 0. The Choke feature can be used to avoid the three congas playing simultaneously. This can make rhythms sound a bit tighter. Hold FUNC, press key 8 Choke, and select the Part keys which have conga sounds.

	Layer 1	Layer 2	Processing
LVL	255	101	0
PITCH	A1	F♯0	255
SRC	SIN	BP	119
MOD	RMP	RMP	0
EG	EXP	LIN	-30
AMT	64	17	on
RATE	167	133
ATT	51	105
REL	119	108

Low Conga

Try longer release times. The low conga is the same again apart from its PITCH setting of G1 and the PAN setting of 25, which places it slightly to the right of the stereo image. If you program all three congas as described here, you will have a subtle stereo effect as you play a rhythm using each conga. You can try changing the Layer 1 RELEASE setting to higher values for the middle and low congas to suggest progressively larger drums, or reduce the Layer 2 RELEASE setting for all three congas for shorter, snappier sounds. If they sound out of tune with your music, adjust the Layer 1 PITCH settings.

	Layer 1	Layer 2	Processing
LVL	255	101	0
PITCH	G1	F♯0	255
SRC	SIN	BP	119
MOD	RMP	RMP	25
EG	EXP	LIN	-30
AMT	64	17	on
RATE	167	133
ATT	51	105
REL	119	108

Toms

Floor Tom

The floor tom is a fairly large drum that occupies a space above the bass drum or kick drum in the frequency range. It can be used with other toms to create bouncy rhythms, especially when used on the step immediately before or after the kick drum. Layer 1 creates the main resonance using a sine wave a. A slight reduction in pitch as the sound fades away is created with the MOD settings: a Rise & fall pitch modulation pattern f with a low AMOUNT setting. Layer 2 creates a shorter highfrequency element at the start of the sound using high-pass filtered noise c.

	Layer 1	Layer 2	Processing
LVL	58	60	0
PITCH	18	215	255
SRC	SIN	HP	104
MOD	RMP	RMP	0
EG	EXP	LIN	100
AMT	17	-15	off
RATE	81	23
ATT	0	0
REL	155	72

Middle Tom

Based on the floor tom sound, the middle tom is the same except for a higher PITCH setting and a lower RELEASE setting for Layer 1, with a PAN setting of -30 to place it slightly to the left of the stereo image. You could make very minor changes to the Amount and Rate settings of one or both layers to create some natural variation between this and the other toms here. In a real kit, two toms could be sounding at once, but in fast rhythms it can help to use the CHOKE feature with all three toms to avoid them overlapping, for a clearer sound overa

	Layer 1	Layer 2	Processing
LVL	58	60	0
PITCH	21	215	255
SRC	SIN	HP	104
MOD	RMP	RMP	-30
EG	EXP	LIN	100
AMT	17	-15	72
RATE	81	23
ATT	0	0
REL	149	72

High Tom

This is also based on the floor tom, with higher PITCH and lower RELEASE settings for Layer 1. The RELEASE setting of Layer 1 could be duplicated across all three tom sounds, but in general, smaller drums will resonate for less time than larger drums. As with most Volca Drum sounds, it can be fun to adjust the RELEASE time of both layers, or the dominant layer (Layer 1 in this case) while a pattern plays.

	Layer 1	Layer 2	Processing
LVL	58	60	0
PITCH	25	215	255
SRC	SIN	HP	144
MOD	RMP	RMP	30
EG	EXP	LIN	100
AMT	17	-15	off
RATE	81	23
ATT	0	0
REL	144	72

Disco Tom

This sound is based on the synthetic tom sounds used in 1970s disco tracks, using Layer 1 only. You can tune the Layer 1 PITCH to a different note, or use the COPY feature to make high, middle and low toms, adjusting the Layer 1 PITCH for each. Layer 2 is not used in this sound, so the Layer 2 Level is set to 0. The other Layer 2 settings have no effect. This is a simple sine wave a with a pitch slide created by the MOD AMOUNT and RATE settings. Try increasing the BIT and FLD settings to add harmonics with the Bit Reduction and Fold effects.

	Layer 1	Layer 2	Processing
LVL	255	-	0
PITCH	C3	-	0
SRC	SIN	-	0
MOD	RMP	-	0
EG	EXP	-	0
AMT	25	-	on
RATE	31	-
ATT	7	-
REL	141	-

Percussions

Cowbell

Based on a classic drum machine cowbell sound, rather than a real cowbell, this uses the sawtooth wave b for both layers. Layer 1 is tuned to 67 and Layer 2 is tuned to 96, almost exactly one octave below. This slight detuning of the waves creates a distinctive tone. QPI must be “off” to detune each layer. These PITCH settings tune the cowbell close to “E” , but it could be tuned up or down to suit your music. The low AMOUNT and RATE settings create additional detuning effects.The linear EGwave h creates an abrupt sound. Select both layers and adjust the RELEASE value.

	Layer 1	Layer 2	Processing
LVL	120	85	64
PITCH	67	96	78
SRC	SAW	SAW	136
MOD	SIN	SIN	0
EG	LIN	LIN	-60
AMT	7	-5	off
RATE	2	4
ATT	0	0
REL	135	135

Rimshot

There are various definitions of a “rimshot”. This one is a simulation of the drumstick hitting the rim of the snare drum only. Even though the sound is not a very realistic recreation, it works very well within a rhythm, especially when combined with a solid kick drum, such as the A1 Kick. Layer 1 and Layer 2 are almost identical, but with very slight differences in the pitch modulation (AMOUNT and RATE) settings. The PITCH of Layer 2 is an octave lower than Layer 1. Once this sound is set up, you can tune it to your music using the PITCHknob with both Layer 1 and 2 selected.

	Layer 1	Layer 2	Processing
LVL	255	125	0
PITCH	A♯3	C3	189
SRC	SIN	SIN	133
MOD	RMP	RMP	0
EG	EXP	EXP	-31
AMT	26	25	on
RATE	163	165
ATT	0	0
REL	76	76

Claves

Layer 1 creates the sound here. This is a very short, high-frequency sine wave a. A subtle amount of pitch modulation (MOD) adds a very slight change in the frequency to create a more natural sound. The Drive effect adds some harmonics to make a sharper, more distinctive sound. The LEVEL of Layer 2 is set to 0, so the other Layer 2 settings do not apply. In the illustration, the Layer 2 waves have been set to match Layer 1. This is not necessary but you could match all the Layer 2 values and then make very slight adjustments to generate a richer sound

	Layer 1	Layer 2	Processing
LVL	95	0	0
PITCH	238	-	0
SRC	SIN	-	137
MOD	SIN	-	0
EG	LIN	-	0
AMT	26	-	off
RATE	93	-
ATT	31	-
REL	60	-

Triangle

As you might expect from such a basic instrument as a triangle, this is a simple sound to make. Both Layers use a highfrequency sine wave a, with similar but slightly different settings to create some resonance and interplay between the two waves. Additional harmonics are created with the Fold effect, set to maximum. To avoid attracting too many dogs or bats, the Gain setting is at -55, reducing the overall volume of the sound. As with the Shorter Shaker, try it on all 16 steps with Accent on certain steps to create a groove.

	Layer 1	Layer 2	Processing
LVL	255	72	0
PITCH	233	239	255
SRC	SIN	SIN	0
MOD	RMP	RMP	0
EG	EXP	EXP	-55
AMT	17	10	off
RATE	169	10
ATT	21	12
REL	124	104

Glass Chime

Like the Triangle sound, this one uses the Fold effect to turn the peaks of the sine waves back towards the central line of the waveform, creating additional harmonics. These are higher frequencies which are relative to the main frequency of the original sine wave. The Bit Reduction effect introduces more harmonics in the formof steps in the waveform. The Layers generate similar sine waves but with slightly different PITCH, ATTACK and RELEASE settings, creating a ringing, resonant effect as the two waves are combined. This is tuned roughly to G.

	Layer 1	Layer 2	Processing
LVL	255	72	62
PITCH	113	85	255
SRC	SIN	SIN	0
MOD	RMP	RMP	0
EG	EXP	EXP	-80
AMT	17	10	off
RATE	169	10
ATT	21	12
REL	122	138

Effects

Metronome

You can use this as a metronome tick or a percussion sound. The sound is made from two sine waves a tuned to different pitches, with slight pitch modulations at different rates. The Multi-peak EG wave j is used for both layers, giving the sound some texture. The ATTACK setting of both layers is increased to give the Multi-peak EG j enough time for its effect to be heard.

	Layer 1	Layer 2	Processing
LVL	40	52	0
PITCH	81	115	167
SRC	SIN	SIN	0
MOD	RMP	RMP	0
EG	MUL	MUL	57
AMT	6	10	off
RATE	38	47
ATT	82	83
REL	97	0

System Error

The Volca Drum is a useful tool for creating original sound effects for games, apps, presentations and videos. This is a deliberately grating, jarring sound that can be effective in more aggressive music styles, or just as a sound effect. Layer 1 creates a sharp ATTACK phase, while Layer 2 creates the main body of the sound at a different frequency. The high RATE setting of each layer causes a rapid fluctuation in the pitch of each wave.

	Layer 1	Layer 2	Processing
LVL	145	134	0
PITCH	F♯6	G♯0	78
SRC	SIN	SIN	24
MOD	SIN	SIN	0
EG	LIN	LIN	-50
AMT	82	47	on
RATE	204	168
ATT	95	135
REL	2	162

Space Trail

Use the Wave Guide. Most of the patches in this book have been designed to work with or without the Wave Guide effect, to give you the flexibility to use it with individual sounds. This long, white noise “whoooosh” sounds great on its own, but the Wave Guide settings here transform it into a much bigger sound that continues well beyond the limit of the RELEASE setting. Experiment with different Wave Guide settings. For example, a lower TUNE setting can make it sound like waves crashing on a beac

	Layer 1	Layer 2	Processing
LVL	142	189	0
PITCH	E1	B3	255
SRC	BP	BP	174
MOD	RAN	RAN	0
EG	EXP	LIN	-40
AMT	10	81	on
RATE	49	3
ATT	132	244
REL	174	234

Random

You can make many amazing sound effects with the Randomize Layer feature. Select a part, select both layers (LAYER 1/2 button illuminated), hold FUNC and press key 9. This will set random values for both layers. Try this with high SEND and DECAY values, and different TUNE settings. Also try this through your own reverbs and delays.

	Layer 1	Layer 2	Processing
LVL	?	?	?
PITCH	?	?	?
SRC	?	?	?
MOD	?	?	?
EG	?	?	?
AMT	?	?	?
RATE	?	?
ATT	?	?
REL	?	?

Melodic Sounds

Sawtooth

Melodies can be created using a kit of sounds tuned to specific notes. The Quantise Pitch feature (QPI) makes it easy to tune one or both layers to a specific note. To turn QPI on or off for the current part, press EDIT STEP, turn the SELECT/ PARAM knob to select QPI, then turn the LEVEL/VALUE knob. Press EDIT/STEP again to exit. This sound uses the sawtooth source wave b for each layer. The settings for each layer are identical except for the Layer 1 AMOUNT and RATE values. The low AMOUNT and RATE values of Layer 1 cause the pitch of the Layer 1 sawtooth wave b to rise and fall very slightly. When this is mixed with the Layer 2 sawtooth wave b, which is otherwise identical, the result is a phasing effect as the peaks of the two sawtooth waves move apart and back together again. This creates a more interesting sound than a standard sawtooth wave. You can try increasing the Layer 1 AMOUNT slightly, up to about 8 or 9 before it begins to sound out of tune.

Create a melodic kit

After you have created this sound, you can copy it to other part memory locations and tune each part to a different note to create a scale of notes, which can be played using the keyboard or the sequencer. Use the COPY feature to duplicate the current part to another part (hold FUNC, press key 7, then press a key from 1-6 to copy the sound into that part memory location).

Choose a scale There are 6 Parts in each kit, so using this technique, a maximum of 6 notes can be used. You could choose a pentatonic scale, made of 5 notes and higher version of the first note, such as in the illustration here. There are many other pentatonic scales you can try:

C-D-E-G-A-C

D-E-G-A-B-D

C-D-F-G-A-C

C#-D#-F#-G#-A#-C#

Alternatively, choose a few notes fromthe key of the music that you are playing along to. Use this theory to create tunings or kits of any of the melodic patches over the following pages.

Wave Guide as a delay

The Wave Guide effect can be used to create a delay (echo) effect which works well with melodic sounds. Try a TUNE setting of 15 with a SEND setting of 220 for each part.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	C4	C4	91
SRC	SAW	SAW	23
MOD	SIN	SIN	0
EG	EXP	EXP	-60
AMT	5	0	on
RATE	30	0
ATT	0	0
REL	185	185

Sine

The construction of this sound is almost the same as the Melodic Sawtooth, but it uses a sine wave a for each layer and is tuned an octave higher. As before, remember to turn Quantise Pitch on. See the Melodic Sawtooth pages for tips on how to copy the sound into different part locations and tune them individually to create a scale

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	C4	C4	91
SRC	SIN	SIN	23
MOD	SIN	SIN	0
EG	EXP	EXP	-60
AMT	5	0	on
RATE	30	0
ATT	0	0
REL	185	185

Basic Bass

Kick / bass hybrid

This can be used to play bassline notes or used as a kick drum. Here it is tuned to E2, but you could tune it to a different note and make copies at different tunings. To make it more suitable for basslines, you could reduce the Layer 1 AMOUNT setting to 0 or a low value. The combination of sine aand sawtooth waves b with a high DRV setting creates a coarse sound. This can be made to sound harsher with a high BIT setting. Alternatively, make a much softer sound by changing Layer 1 AMOUNT to 0 and Layer 2 LEVEL to 0. This is a good starting point for various bass sounds.

	Layer 1	Layer 2	Processing
LVL	255	255	0
PITCH	E2	E2	0
SRC	SIN	SAW	107
MOD	RMP	RMP	0
EG	EXP	EXP	-52
AMT	30	0	on
RATE	88	0
ATT	50	14
REL	151	153

Perfect Fifth

Multi-peak strum

The Multi-peak EG wave j is used with both Layers here to create an effect that is almost a strum. Each layer is tuned to a different note. In this case the notes are C4 and G4, which create a “perfect 5th” chord. You could make a copy of this patch with different tunings (perhaps A#3 and F4) and play them in the same pattern. Every trick is used here: the layers are detuned slightly (Layer 1 AMOUNT and RATE settings), BIT, FLD and DRV introduce more complex harmonics, and the ATTACK and RELEASE settings of each layer are slightly different. Send it through the Wave Guide effect.

	Layer 1	Layer 2	Processing
LVL	255	255	255
PITCH	C4	G4	255
SRC	SAW	SAW	255
MOD	SIN	SIN	0
EG	MUL	MUL	-90
AMT	5	0	on
RATE	30	0
ATT	52	71
REL	150	150

Sonicware Ambient ø