i have not found anything remotely close to this for explosion synthesis, thank you! i think the type of distortion is key here, it took me a long time to find something that would drive it as hard as that ableton drum buss soft clip is doing, without completely nuking the high end detail.
Absolutely. :) Maybe you've already seen my video on gunshots: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-L2bknjn0Alg.html In this video I process raw gunshot recordings. And you will see that I use the gunshot recordings mainly for the tail and I create the transient/ punch with completely different recordings. You could do the same here and use these synthesized sounds mainly as the tail of the gunshot and then use any punchy sound you want to layer it and give it more impact.
I'm not familiar with Logic Pro, but from a quick google search I guess that the Enveloper stock plugin is a transient shaper. The only other thing I'm using drum buss for is distortion; so you can simply try out the different distortions in Logic Pro and see what kind of results you get. :)
@@NGTVST Thanks for going to that trouble of looking up a solution, very kind of you.☺ I wonder if boomerang techniques are a good idea for Vital? Meaning creating a basic sample from Vital then bringing that back into vital as a sample to then re-process? That way it would be a saved patch rather than a DAW reliant process. I've done that with noises but in this application it might work a treat?. Just a spitball idea. Thanks again! 😀👍
You can just use a transient shaper and any distortion plugin that you have available; this is what I'm using drum buss for in this case. Try out different distortion plugins to see which sounds best for this and also play around with the order of the plugins (transient shaper into distortion or the other way around). I use transient shaping and distortion at quite extreme settings in this case, but depending on the plugins you end up using, you might use more moderate settings. I hope this helps. :)
It's called the haas effect. It's just using a stereo delay and then slightly delaying one of the two sides. Typically the delay time is kept below 20 ms, because if the delay is any longer than that, it will become audible. Due to the difference between the left and the right signal, the sound is in stereo. I have a really short video on this showing it with the Ableton stock delay: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--7UKmr0ErvQ.html Hope this helps. :)
@@KnotLõ-ADSR Be aware that the downside of this technique is that it can cause phase issues when the signal is summed to mono. Sometimes it's better to use specific plugins that "stereoize" the signal and preserve phase coherence if you want to maintain stereo compatibility. :)