ALL sounds are combinations of sine waves at different levels and frequencies (harmonics), and those 2 "notes" you are talking about are just the most prominent harmonics, and I think there is probably a really good chance you will have made it in key naturally some way by ear anyway .. assuming you have ever touched the tuning of the kick. but even then, if you started your track with the kick you may have instinctively chosen the pitches of other sounds around it. So I wouldn't worry too much about it, but it is definitely worth chucking a spectrum on it anyway.funken wrote:Just been experimenting with my kicks. Actually ended up not using a pitch envelope at all. Seem to have stumbled on a wave that had a nice pop at the start without needing one. What I've suddenly realised is that as far as tuning goes, you need to read it as polyphonic, as its a mix of a high note and a low note, and in mono Melodyne just takes the average. Bang goes the tuning on all my previous kicks, I will have to check them all! Even without any pitch envelope this kick has two notes at the same time. Sounds ok anyway, sort of modern.
If you haven't already dome it, maybe try having a play with the Operator's Partial editor and start with a simple sine wave and then draw in a 2nd partial, then a third, and so on - preferably with a Spectrum following it with the expanded view - and listen to the different harmonics across the harmonic series - then load up some other waveforms and compare them, see which harmonics are present.
In fact, to relate this to the original point, while Dr. Fluffenstein doesn't have Operator he can still do all this with simpler, but the difference is that with operator each oscillator is a powerful additive synth, so you can quite literally draw in the harmonics you want to be in the sound with ONE oscillator, and you could definitely survive with just the one oscillator to create a kick drum.
To achieve the same you can add as many as you like to a rack and use each one as a separate harmonic. To do this you only need to multiply the frequency of the fundamental by the whole number of each partial. I.e. - if you are creating a kick at C1 which is about 65 Hz, then the 2nd partial is double that (130Hz), 3rd partial 3x that (195), 4th x 4 times (260) and so on… there is a really good chance that the 2 harmonics you mention are at least somewhere in the harmonic series in relation to the key of your track, just because you will have been trying to make it sound good.
But if you added the kick after you'd already chosen the key and then never tuned it then that might not be the case
i searched for it.
. It seems the more waveforms I layer together the better the results, haven't been having much luck with just two waveforms. The biggest challenge is probably mapping the macros so that any setting gives a usable kick sound, while also squeezing as much variety as possible into 8 macros.
