Meer Power
Boring synth stuff


Supersaw. It’s the sound of growling drum n bass, cheesy anthem trance and southern hip hop, maybe. A bunch of saw waves stacked up and slightly detuned, going in and out of phase with each other. Technically, it’s called unison, and it doesn’t have to be saws. Maybe someday the pulse of modern music will consist of  supersquares. Ha, bad pun. Sytrus has a lot of really cool unison features that let you really tweak the buzzing cutting apparatus.

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I haven’t posted anything in a while, so to start things off again, let’s talk about something that’s pretty dull, but has huge implications. The importance of 32-bit audio. To make it better, there will be probably be a sheep metaphor. This won’t be an incredibly in-depth article, but I’ll let you know what you need to know to make good stuff. This article totally sucks, don’t say I didn’t warn you. Read the rest of this entry »


Multilinking controllers was a new feature in FL 7 or 8, I don’t really remember, but it’s pretty much just an easy way to link a bunch of knobs on a mid controller to things inside FL Studio. The multilink controllers button looks like a joystick. After pressing it, teaking controls in FL Studio and then pressing it again, you can easily link those controls to knobs or whatever on your midi controller. That’s sort of fun, but there’s an even better, way more awesome thing this can do; Override Generic Links. Read the rest of this entry »


Chopping up a breakbeat in the Fruity Slicer or Slicex or Recycle etc. and rearranging it is a lot of fun. You can make the break your own, instead of just looping it. Even better, making one-shot drum samples from breaks and making huge velocity mapped multisample drumkits will let you mix and match between breaks and get relatively more realistic results. I was going to make a video about this, but I can’t be arsed, so I’m just going to put up a crapload of pictures. WordPress is pretty annoying, because it likes to format pictures on the page randomly and never does what you want it to do. Read the rest of this entry »


One day, a long time ago, I was listening to podcast about synthesizers because of some school assignment or something. It was a couple of guys talking about ‘The Greatest Presets Evar’ or something like that, going through their favourite demo sounds on various synths and songs that they were in. Eventually, as they were wrapping it all up, they pretty much said that all these synth sounds weren’t that important, and that it’s just the notes that really matter. I’m not sure how literally they meant it, but I’m going to be a dork and whine about how the notes aren’t the only thing music needs, or something. Read the rest of this entry »


The Fruity Love Philter is pretty neat. It sort of  has a silly name, but it’s a bank of 8 filters with envelopes and LFO’s for everything, waveshapers and serial/parallel nonsense. One thing that confused me for a long time was that the input gain knob for each filter ranged from -125% on the left to 125% on the right, with 0% in the middle, while the output volume knobs only have positive values. Eventually, I figured it out; the negative values on the input volume reverse the phase of the input for that filter! This way, it can be set up so that the filtered frequencies don’t cancel out other stuff! Read the rest of this entry »


In wavetable synthesis, oscillators aren’t constrained to a single, static shape. In normal, subtractive synthesis, each oscillator can usually only output a sawtooth or square or whatever wave, while wavetable synthesis has dynamic, morphing waves. Each oscillator has a ‘table’ of ‘waves’, a bunch of different waveforms that are pretty much the same, but different, like a pure sine wave with harmonics being gradually added. The position of the oscillator in it’s wavetable, like which wave of the whole bunch it’s making at the moment, can be modulated with an LFO or envelope or whatever. In Reason, this can be done with Thor or Malstrom. In FL Studio, Sytrus could be sort of forced into something similar, but there is a better, weirder way. Read the rest of this entry »


Past versions of FL Studio allowed the use of multiple midi controllers at the same time, like a keyboard and a pad controller, but it was pretty much useless because all of them controlled the same channel. If you wanted to play a synth on the keyboard and a sampler with the pads, you couldn’t unless you jumped through some huge hoops. In FL Studio 9,  it’s pretty easy to control different things with different controller. With some finagling, some pretty neat stuff is possible, like recording multiple channels to the step sequencer. Read the rest of this entry »


CV stands for Control Voltage. In ye olden days, control voltage was used to hook things together like modular synths and whatever else. Reason, trying to emulate the feel of ye olde hardware audio, lets you control things with CV. Most things. There comes a time when you want to control something with CV, but Reason decided that it didn’t want to put a CV input for that particular parameter on the back of the device. Like the level knobs of the little line mixer. So, what do you do, just use automation? NNNNNNNOOOOOOOOOO! Read the rest of this entry »


One of the fun things about Reason is that it allows feedback paths, unlike a lot of other programs. This make it insanely useful for making horrible screeching noises, but it has some more practical uses as well. Probably the most obvious is constructing feedback paths for the delay unit. Read the rest of this entry »