{"id":3773,"date":"2020-12-03T04:13:12","date_gmt":"2020-12-03T04:13:12","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=3773"},"modified":"2022-01-06T09:53:34","modified_gmt":"2022-01-06T09:53:34","slug":"watery-ambiences","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2020\/12\/03\/watery-ambiences\/","title":{"rendered":"Watery Ambiences"},"content":{"rendered":"
\n\"KevinDoran\"\n<\/div>\n

\nIn this post, we will examine creating some watery ambiences with a collection of wet modular patches. Of course, GameSynth has a dedicated Weather model for easily customizing traditional ambience types. However, the Modular model allows for a much deeper level of control and offers additional generators and effects processors to sweeten the result.\n<\/p>\n

Modular Rain<\/h2>\n

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\n<\/a><\/p>\n

\nIn this example, four Rain<\/b> generators are being used to create the different characteristics of rainfall. The volume of each is represented in the Meta Parameters tab as Close Shower<\/em>, Far Shower<\/em>, Heavy Drips<\/em>, and Light Drips<\/em>. Separating the generators in this way allows us to quickly dial in the perfect mix via the Gain<\/b> modules.\n<\/p>\n

\nEach generator’s density is also being controlled; however, they have been separated into two groups. The two on the left create the blanketed noisy rain aspect, and the two on the right create the distinct pitter-patter of individual droplets. The Meta Parameters Shower Density<\/i> and Drips Rate<\/i> represent both of these, respectively. <\/p>\n

\nFinally, an EQ Filter<\/b> is applied at the end as an adjustable low-pass filter. Lower values of this slider create the effect of being inside, as the high-frequency content is attenuated.\n<\/p>\n

Cave Water Drips<\/h2>\n


\n\"\"
\n<\/a><\/p>\n

\nOur second patch is perceptually quite simple. Two Rain<\/b> generators are outputting only the distinct drips, with a Biquad<\/b> filter and a Reverb<\/b> effect used to create a sense of space and control the apparent depth. By setting the material type to Lake<\/em>, using heavy reverb settings, and setting a low drip rate, we can develop a convincing cave drip ambience.\n<\/p>\n

Ocean Waves<\/h2>\n

<\/p>\n

\"\"
\n<\/a><\/p>\n

\nThis time we are using a mix of Rain<\/b> and Wind<\/b> as our source generators. These modules create a complex, noisy signal, which is then modulated by some looping Automation Curves<\/b>. A Lerp<\/b> module chooses a value between these two curves and sets them based on the Waves Height<\/b> Meta Parameter.\n<\/p>\n

\nThe Pitch<\/i><\/b> Meta Parameter is actually controlling the center frequency for the EQ Filter<\/b>‘s bell curve. Since the signal is quite noisy, this has the effect of altering the perceived pitch as it creates a resonant peak. It also mimics the effervescent gush of the ocean\u2019s surf.
\nAnd like with the Waves Height<\/i> Meta Parameter, we have a Lerp<\/b> module choosing between two automation shapes, this time controlling the apparent distance from the sound source.\n<\/p>\n

Water Pipe<\/h2>\n

<\/p>\n

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\n<\/a><\/p>\n

\nAs with our cave drips, we have another patch that is easily understood at a glance. A Rain<\/b> generator is used to output drip sounds, and a Comb Filter<\/b> and Tube<\/b> processor shape the result. The combination of aggressive filtering and resonant shaping by these two effects modules convincingly creates the effect of a drain or water pipe. A Meta Parameter<\/b> then offers the ability to perform the amount of water pouring down the drain in real-time.\n<\/p>\n

<\/div>\n
\n


\n\"download-patches\"
\n<\/a>\n<\/p>\n<\/div>\n

\n\"GameSynth\"
\n<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In this post, we will examine creating some watery ambiences with a collection of wet modular patches. Of course, GameSynth has a dedicated Weather<\/p>\n","protected":false},"author":1,"featured_media":3784,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[6,15,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/3773"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=3773"}],"version-history":[{"count":17,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/3773\/revisions"}],"predecessor-version":[{"id":4909,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/3773\/revisions\/4909"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/3784"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=3773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=3773"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=3773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}