53,830 Waves: move through a useful region of the wave space
Use Bank A, the second oscillator and grid motion to build an evolving pad or a lead whose changing tone still follows the phrase.
Read the noteTHE FAT BERRY DSP BLOG
Studio notes.
Less faff. Better sound.
Practical recording, mixing, mastering, and sound-design studio notes written by Rory Browne. Each note focuses on one Fat Berry DSP instrument or effect, with practical routing, source choices and creative workflows. Treat suggested settings as starting points for your own material.
Follow the RSS feed ↗Iron Curtain: give the four layers separate roles
Use Synth, Strings, Oddity and Wavetable layers to build a playable hybrid part, then choose how its trajectory develops.
Read the noteFB-985: make a wave change follow the musical phrase
Use FB-985's three oscillator sections, two filters and envelopes to build a focused lead or a slowly developing pad.
Read the noteFB-60: build the chord before switching on the chorus
Use FB-60's oscillator, sub and noise balance, filter contour and chorus choices for bass, keys and animated chord parts.
Read the noteNana: make a monophonic line behave like a performance
Use Nana's oscillators, ladder filter and virtual patch bay to build bass, sync leads and a sequenced part with an intentional contour.
Read the noteFB-XD: give analogue and digital sources different roles
Use the VCOs, MULTI oscillator, four-voice modes and motion sequencer to build compact chords and a developing rhythmic part.
Read the noteFB-20: make the two filters and patch bay work together
Use FB-20's resonant high-pass and low-pass filters, envelopes and virtual routing for bass, vocal-like leads and rhythm-controlled synthesis.
Read the noteFB-2823: choose a filter character for the performance
Use FB-2823's dual oscillators, sample-and-hold and four low-pass models to build a sync lead or a slowly moving stereo part.
Read the noteFB-1080: choose a patch in context, then build its treatment
Use FB-1080's patch banks and EFX, chorus and reverb routing to place a keyboard or melodic part in the arrangement.
Read the noteFrighten: make the program respond to the player
Use Frighten's sample-based synthesis, velocity ranges, modulation and effects to build responsive keys, layered textures and rhythmic programs.
Read the noteMutant Brass: turn a brass source into a performed hybrid voice
Use Source, Formant, Grain and the resonant-body controls to create brass-led stabs, breathy sustains and an evolving texture.
Read the noteLOW: make the bass line's articulation the starting point
Use LOW's seven flavours, octave-based Cutoff and performance controls to build a bass that fits the kick and the phrase.
Read the noteCranberry: choose one useful layer of generated weight
Use Cranberry's three sub bands and separate Edge treatment to develop kick, bass or a short low-frequency arrangement layer.
Read the noteWhisper of Satan: place the low-end emphasis deliberately
Use the coupled resonance and low-frequency attenuation to focus kick, bass or a selected low layer, then compare the optional bass colour.
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