Step 01 / 4
Shape the two-octave saw body #
The signal flow is Wavetable → Delay → Reverb, using stock devices in Ableton Live 12 Suite. Begin with Wavetable and both main oscillators on. Choose Basics → Basic Shapes for each oscillator and set Position 67%, at the saw-wave region. Use the starting settings for the complete initial tone.
| Control | Oscillator 1 | Oscillator 2 |
|---|---|---|
| Transpose | 0 st | −12 st |
| Detune | +2 ct | 0 ct |
| Gain | −6 dB | −6 dB |
| Pan | Center | Center |
| Oscillator effect | None | None |
Enable Sub, with Tone 0%, Gain −15 dB and Octave −1. The sine sub supports the lowest fundamental. The small detuning of the upper saw introduces slow beating between overlapping harmonics.
Use Poly, 6 voices, Unison None, global Transpose 0 st, Glide 0 ms and device Volume −19 dB. Enable Filter 1 as a 24 dB low-pass, PRD circuit, with Frequency 300 Hz, Resonance 67% and Drive 3 dB. Keep Filter 2 off and filter routing Serial.
Set the Amp envelope to Attack 57 ms, Decay 57 ms, Sustain −2.3 dB and Release 57 ms. Use Attack slope 0%, Decay and Release slopes 50%, and Loop mode None. This gives the note a softened edge and a short direct release while allowing held tones to sustain.
In the MIDI matrix, use Key → Flt 1 Freq: 100, Vel → Amp: 50, and PB → Pitch: 2 st. Higher notes open the filter proportionally; velocity controls amplitude, and pitch bend moves the tuning. Keep Env 2, Env 3 and LFO 2 unassigned. Leave LFO 1 Amount at 0% for this initial body, with global modulation amount 100% and Time 0%.
Step 02 / 4
Make the filter jump between random values #
Set LFO 1 to the Random waveform, listed as Noise in the complete parameter table. Use Rate 2.67 Hz in Free mode, Shape 0%, Amount 100%, Offset 0°, Attack 0 ms and Retrigger Off.
In Matrix, set LFO 1 → Flt 1 Freq: 20 and LFO 1 → Flt 1 Drive: 10. Every other internal modulation connection remains zero.
The LFO picks a new value approximately every 375 ms. Positive excursions open the resonant filter and increase its drive; negative excursions darken and soften the tone. Held notes change character without requiring repeated key strikes. Individual notes can develop different modulation patterns.
Step 03 / 4
Add separated stereo echoes #
Place Delay after Wavetable. Turn Link off, use unsynced time controls, and set Left 750 ms, Right 775 ms, Feedback 25% and Dry/Wet 30%.
Enable its filter at 900 Hz, Width 7.00. Use Fade smoothing. Keep Ping Pong and Freeze off, and both LFO modulation amounts at zero.
The repeats carry earlier filter states into the gaps between newer ones. Slightly different left and right times spread the echoes, while low feedback lets each repeat fade quickly.
Step 04 / 4
Add a quiet, dark room tail #
Follow Delay with Reverb.
| Control | Value |
|---|---|
| Predelay | 5 ms |
| Size / Smoothing | 85 / Fast |
| Decay | 14.0 s |
| Density | High |
| Stereo | 100 |
| Dry/Wet | 15% |
| Input Lo Cut / Hi Cut | Off / Off |
| Diffusion High | On, Shelf, 1.80 kHz, Gain 0.60 |
| Diffusion Low | Off |
| Diffusion / Scale | 60% / 40% |
| Reflect / Diffuse level | 0 dB / 0 dB |
| Spin | On, 0.30 Hz, Amount 17.50 |
| Early-reflection Shape | 0.50 |
| Chorus | On, 0.02 Hz, Amount 0.02 |
| Freeze | Off |
The long decay leaves a soft background behind the distinct echoes. High-frequency damping keeps the room darker as it fades, and the low wet mix preserves the direct resonant tone.
Hold a note to hear the random tone changes develop. Short notes reveal the direct envelope and separated echoes; chords combine several moving filter patterns over the common delay and room tail.
Audio & settings ↓