Making a robotic texture sound in Spire

Could you explain how you got to producing that arp on Machinery (Preview) at 0:02 sec?

Mohammed Sharook

I’m glad you asked because I love that sound and quite satisfied with it :-)

In few words — it’s all about a comb filter. That particular filter type is what makes the sound so badass and “robotic”. But let’s try to recreate this sound entirely from scratch.

Comb filter

First things first, we need to use a synthesiser that has a comb filter. For instance, Sylenth1 which I know many Psytrance producers use a lot, won’t work in this case since it doesn’t have that filter. So, for this example, I’m gonna use Spire.

Recommended synths

Let’s create a new MIDI channel, put a new instance of Spire with initial preset, and draw a MIDI note. Keep in mind that actual note on a piano roll doesn’t matter because we gonna use noise as a waveform which obviously doesn’t have a tone.

Picture1. A new instance of Spire synthesiser with init preset

Now let’s do some tweaks. In the oscillator section, change Classic mode which is set by default to Noise. Right next to it, turn off oscillator key tracking and turn the Wide knob all way to the right.

By default, Envelope-3 in Spire is mapped to a filter cutoff. We don’t need it here, so set it to “Off”. Here is what we’ve got so far:

Picture 2. A simple noise with no envelopes

Nothing fancy so far, just a basic noise sound. Now, turn on the arpeggiator at 1/16 notes to add some rhythm. Map Envelope-1 section to the filter resonance and crank up its amount to a maximum position, and also slightly adjust the Release parameter for 15~20% of its total volume.

Now comes the most interesting part: in the filter section which is off by default, choose the combo (Mono+) filter type. You should notice a pretty dramatic change as soon as you have done it. What’s interesting about this filter is that its cutoff frequency determines the actual tone of the sound. For example, at cutoff about 235~240 (Spire’s value, not Herz), we get the sound at G# — that’s the root key of Machinery since you asked about that track:

Picture 3. Arpeggiator, comb filter, and filter envelopes

That’s pretty much the basics. Now you can add EQs, compression, delays, reverb, more filters, play around with arp gate parameter, and more. With this in mind, you should be able to make something like this:

Or add any twist to this sound, as you like. I hope it helps.

 835   2017   Advice   Production   Sound design

Since 2015, I’ve run an advice section giving my experience and answering readers’ questions on music production, DJing, performing, marketing, management, and other aspects of the music industry. The purpose of the series is to spread knowledge and cultivate professionalism in the music industry. The advice series works simply: you send me your questions, and I answer them with a blog post when I have something relevant to say. Send me your questions via the form.


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    6 comments
    Mohammed Sharook 2019

    Thank you so much for the advice, Daniel! I am going to keep this mind and gonna keep you posted on more questions from my side!

    Arseny 2019

    Great tutorial, thanks. I was overlooking the Spire’s comb filter for no reason.

    How do you tune the comb filter, by ear?

    Daniel Sokolovskiy 2019

    Typically, I tune it by ears and using Spectrum for better precision.

    Soldae Rokker 2019

    Thank you for the advice bro ! more tips please!

    Stanislav Mozolevskiy 2019

    Great tutorial!

    George Hess 2019

    Awesome tutorial! But can you please specify which type of settings are you using for the send delay/reverb here, for the synth?

    Daniel Sokolovskiy 2019

    I think for this example I’ve been using built-in Spire reverb with default settings, and as for delay it probably was Replika (see recommended processing plugins).

    George Hess 2019

    Thank you, Daniel, on your swift and constructive answer!

    Will try Replika for sure!

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