Hi,
It sounds like the trick to both of these sounds is having the filter on a 1/16th note synced saw-down LFO, and some adjustments in general to the filter envelope.
I gave it a shot, and here's what I did in general. The osc's aren't exactly like they are in your tracks, but the majority of what you are hearing can be created with almost any osc combination (likely) to taste.
You stated specifically Subtractive synthesis, so I reached for Analog. Technically Operator is pretty much as capable as Analog for additive/subtractive synthesis by changing algorithm (tetris buttons), but alas, here we are.
I've gone into a lot of detail about what I'm changing and why, in case you aren't familiar with synthesis in general, or in case you are using a different synth, you should be able to find similar parameters. I hope this helps you, or someone at some time.
The Set
You can download the set I made trying to help you here:
https://dl.dropbox.com/u/75360/2012%201 ... nthing.alp
It requires Analog, and has two samples from the Live Library attached.
It doesn't sound quite like the tracks you sent, but I think the ideas are the same. I didn't want to spend too much time cracking the correct osc. combos.
The two sounds are very similar, except the second one is clearly benefiting from more modulation, and side chain compression to the kick drum.
First Sound
Using Analog, but any synth will have very similar capabilities and names of things.
I'm using two square wave osc's detuned -.05 / +.05 This helps give the tone a little phasing (flanging?) effect to add to the modulation. Under osc 2's F1/F2 destination select, send it all to F1. I also dropped the 2nd osc down an octave to get a little more meat in there.
In Filter 1, use a lowpass filter with a relatively low frequency setting. I'm using about 200 hz, and 11% resonance for just a little more bite.
I've adjusted my filter envelop a very small amount: Decay is at about 1.11 seconds. Under the Freq Mod section in Filter, I've turned up LFO1, Key and Env a small amount.
LFO1: We will be syncing LFO1 to 1/16th notes to modulate the frequency -- this should be the biggest modulation to get the gating sound.
Key: This setting dictates the frequency of the filter based on the midi note sent to the sytnh. Higher pitched notes will open the filter more. In the track you reference, a higher note/chord is played now and then, and the filter is clearly open more at that time.
Env: This adds movement to your filter by slightly opening it when you trigger a new note, and bring it back down to it's normal condition after the 1.11 seconds we set above.
Next section in Analog is the Amp Section. I felt that the notes were a little too harsh coming in and out, so I'm using the following settings:
Attack: 39 ms
Decay: 2.65 S
Sustain: .71
Release: 351 ms.
This helps smooth our notes out a little.
Next up is the LFO section:
LFO1 should be on, and set to sync mode (the little note button below "Hz"). Now you can control LFO 1 in terms of meter. Set it to 1/16th notes.
The final thing I added was a touch of unison at around 8. Clearly there is a little more general modulation going on in the example you listed, and I thought this was a good way to go about it.
I had a hard time balancing the levels when the filter was solidly open, so I threw a compressor at the end of the chain to level things off. It does remove some of the dynamics, but helps make everything audible without being harsh when the filter is open.
Second Sound
For your second example, it's actually a very similar idea, there's just more modulation, and ducking.
I started by copying the first synth.
Next, if you click Osc2's menu, you'll see an option under Sub/Sync in the bottom right of the display. I changed Mode to Sync, and Ratio to 5%. This essentially shifts our second Osc2 around a little more, causing more dramatic phasing (flanging?) with Osc1. Generally, I like using this to move the sound around.
I then added a second compressor at the end of the chain strictly to work as a sidechain to the kick.
