AI, procedural generation and other new music technologies - What does the future of music hold?

Jetflag

Legendary Member
Jul 17, 2020
3,558 Posts
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to fire up the ai bots for TF Recordings then! @Jetflag prepare for 200 million streams for Paracosm by the end of the year.

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Pokkryshkin

Senior Member
May 7, 2022
428 Posts
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Sounds better than Armin's latest track. I can if I had the ability to come up with a nice instrumental remix those chords towards the end are dope.
I heard a recent track from Gareth Emery - "Fallen" with vocals in chinese, and decided to try to generate a trance track with east vocals, but I chose japanese because it seems to me more melodic. Yes, the instruments sound simple, but I like this slightly dark atmosphere.
 

Hensmon

Admin
TranceFix Crew
Jun 27, 2020
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I think i'll spin up a separate thread for our own AI created music, and keep this one mostly for discussion.

That Obsidian Cascade track is pretty nice btw @Pokkryshkin . Gabriel Dresden, Anjuna, Coldharbour fusion. What was the prompt?
 
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Gijs

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Jul 2, 2020
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My opinion on AI EDM is very simple and very negative: AI is going to be the death of music. I draw the line at stem separation and maybe the "this is the part of your track you need to improve" thing Enigma State mentioned in this thread. Anything else - and especially fully AI generated tracks - will be met with nothing but disdain from me. Soon it'll be impossible to tell what is human-made and what isn't and I don't trust both artists and listeners with that kind of power at all.

The fact that some artists seem to promote AI generation completely puzzles me, their jobs are at the highest risk of becoming obsolete once AI becomes truly indistinguishable from human productions. Yeah sure, there's going to be a brief period where you will be able to generate your own music faster than ever before, but eventually someone is going to take that music, train their own AI with it and then release their own songs that sound like yours. You might get something out of a legal battle but as far as I know, copyright laws cover the musical composition of a single piece itself and not the general sound of the artist who created it. I am very glad laws are being put in place to prevent AI music sites from scraping streaming services, but I think we've come too far already at this point.

I'm going to continue listening to the artists I like and I hope they're smart enough to realise the dangers of this "tool" and to not give in to it.
 
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Magdelayna

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Jul 13, 2020
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It'll be very interesting in the future whether anyone in their bedroom could make a quality Ferry Corsten '99 style track in seconds...if the prompts become so advanced it would know exactly what youd want.
 

Gijs

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Jul 2, 2020
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It'll be very interesting in the future whether anyone in their bedroom could make a quality Ferry Corsten '99 style track in seconds...if the prompts become so advanced it would know exactly what youd want.
While I do acknowledge that AI will be a spectacular piece of technology once it has reached that point, the absolute last thing I want is for already released music to completely lose its meaning because people can just generate similar sounding music without putting in the effort the original artist did, or any effort at all. No matter how it's being used, I don't want it anywhere near the things I like (including, but not limited to, Corsten's '99 style).
 
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Progrez

Elite Member
Jun 17, 2022
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I am amazed that Chatgpt was able to give me this. I don't know how much is true or legit.

https://soundcloud.com/geomagnetic%2Fthe-digital-blonde-lauren-lyon-iris-ovniep652-ovnimoon-records


This was the track I asked it analyse


To provide a detailed breakdown of the track's elements and their likely synthesizer sources, I'll evaluate the core components of the intro, midpoint, and outro sections as follows:

1. Intro: Ambient Pads and Textures

  • Sound Design:
    • Smooth, evolving pad sounds with a wide stereo image.
    • Likely using subtractive synthesis with filters (e.g., low-pass) for a gentle, ambient quality.
    • Effects like reverb and delay create spatial depth.
  • Possible Synths:
    • Omnisphere: Known for lush atmospheric sounds.
    • Access Virus TI: A staple for evolving pad textures in trance music.

2. Midpoint: Leads, Arpeggios, and Bass

  • Leads:
    • Bright, sharp lead tones with saw or square wave oscillators.
    • Modulation effects such as LFO-controlled vibrato or pitch bends.
    • Leads may have slight detuning for a thicker, chorus-like effect.
    • Possible Synths:
      • Sylenth1: Excellent for trance leads with detuned saw waves.
      • Serum: A versatile wavetable synth for sharp and dynamic leads.
    • Arpeggios:
      • Rhythmic patterns, possibly created with step sequencers or arpeggiator modules.
      • Filter sweeps (resonance peaks) emphasize movement.
      • Possible Synths:
        • Arturia Pigments: Known for its arpeggiation capabilities.
        • Roland System-8 or emulations of classic analog gear.
  • Bassline:
    • Deep, driving bass with a consistent rhythm, typical of psytrance.
    • May use FM synthesis for metallic overtones or subtractive synthesis for a smooth, punchy sound.
    • Possible Synths:
      • Roland TB-303: Classic for acid basslines.
      • Phase Plant or Massive X: For modern, versatile bass design.

3. Outro: Bass and Atmosphere

  • Sound Design:
    • Emphasis on deep bass frequencies with fading atmospheric textures.
    • Likely a simple sine wave or triangle wave with added harmonics for warmth.
    • Background effects (e.g., noise, risers) are layered for a smooth transition out.
  • Possible Synths:
    • Korg Minilogue or similar analog synths for warm bass tones.
    • Diva by u-he: Excellent for analog-style basslines and subtle atmospheres.

Effects and Production Techniques

  • Delay and Reverb:
    • Widespread use for creating depth and space in all sections.
  • Filter Modulation:
    • Automated sweeps to add movement and dynamic energy.
  • Stereo Imaging:
    • Pads and effects are likely panned or processed with stereo widening tools.

Would you like a focus on specific tools, techniques, or more examples of how these elements are produced?


You said:​

yes please and also give me a breakdown of what synths, techniques are used from the beginning to the end of the track. what keys are used, what notes are used, what synths, how to make the pads sound

ChatGPT said:​


To break down the track comprehensively, I'll analyze the progression from the beginning to the end, focusing on key synths, techniques, and musical components:

Breakdown from Beginning to End

Intro (0:00 – ~2:00)

  • Synths:
    • Pads: Lush, evolving sounds with soft attack and long release.
      • Likely using Omnisphere, Diva, or Access Virus TI for their atmospheric capabilities.
      • Layered with subtle white noise or filtered noise for texture.
    • Techniques:
      • Subtractive Synthesis:
        • Start with a saw or square waveform.
        • Apply a low-pass filter with high resonance to create a smooth tone.
      • Modulation:
        • Slow LFOs modulating filter cutoff for movement.
      • Reverb and Delay:
        • Generous reverb with a long tail to create space.
        • Subtle ping-pong delay for stereo width.
  • Musical Components:
    • Key: Likely in a minor scale, such as A minor or D minor, for an emotional, introspective vibe.
    • Notes: Sustained chords with minimal movement, often staying on the tonic or shifting slowly.

Build-Up (~2:00 – ~5:00)

  • Synths:
    • Arpeggios: Bright, rhythmic patterns introduced, playing syncopated sequences.
      • Likely using Serum, Sylenth1, or Pigments.
    • Bassline: A sub-bass with a sine or triangle waveform to provide warmth.
      • Layered with mid-bass created using saw waves and filter cutoff automation.
  • Techniques:
    • Arpeggiators:
      • Use a simple arpeggiator plugin or the synth's built-in feature.
      • Experiment with patterns like up/down or random, with sync to the track tempo.
    • Bass Design:
      • Start with a single oscillator for sub-bass, add a second oscillator for harmonics.
      • Modulate amplitude or filter cutoff with an envelope for pluckiness.
    • Automation:
      • Slowly increase filter cutoff on pads and arps to create tension.
      • Gradual addition of high-pass filtering on the kick/bass to build energy.
  • Musical Components:
    • Key: Likely stays within the same key.
    • Notes: Arps follow a simple pattern, often emphasizing root, third, and fifth notes.

Main Section (~5:00 – ~9:00)

  • Synths:
    • Lead Synth: A sharp, detuned saw lead with vibrato.
      • Likely created using Sylenth1 or Serum.
    • Bassline: A driving acid bassline, possibly from a Roland TB-303 or its software emulations.
    • Pads: Continue in the background, now with additional layering for harmonic complexity.
  • Techniques:
    • Lead Design:
      • Detune two saw waves slightly.
      • Add an LFO for subtle pitch modulation.
      • Use a high-pass filter to remove low-end muddiness.
    • Acid Bassline:
      • Start with a single saw waveform.
      • Use a resonant low-pass filter with high resonance.
      • Automate cutoff frequency for movement.
  • Musical Components:
    • Key: Remains in the same key, minor.
    • Notes: Lead melodies often emphasize the tonic, fifth, and seventh notes of the scale.

Breakdown (~9:00 – ~10:30)

  • Synths:
    • Pads: Take the forefront again, fading in with long attack times.
    • FX and Risers: Noise sweeps and pitch-bending effects for tension.
  • Techniques:
    • Pad Layering:
      • Combine a low-passed saw wave for warmth with a high-passed noise layer for airiness.
      • Modulate volume and panning for subtle movement.
    • FX:
      • Use white noise with a rising filter cutoff.
      • Layer with pitch risers made from basic sine waves and automated pitch envelopes.
  • Musical Components:
    • Key: Subtle shifts in chords to create a sense of resolution or transition.

Outro (~10:30 – End)

  • Synths:
    • Bassline: Simplified sub-bass, often fading out.
    • Pads: Gentle, warm textures to close the track.
  • Techniques:
    • Gradual reduction in complexity by muting elements.
    • Automate reverb/delay to create a fading effect.
  • Musical Components:
    • Key: Often resolves to the tonic chord for closure.

How to Create the Pads

  1. Oscillators:
    • Use 2-3 oscillators with saw or sine waves.
    • Detune slightly to create a warm, wide sound.
  2. Filter:
    • Apply a low-pass filter with a medium resonance.
    • Automate cutoff for dynamic movement.
  3. Modulation:
    • Assign an LFO to the filter cutoff or panning.
  4. Effects:
    • Use a reverb with a long decay and high mix setting.
    • Add subtle delay for stereo width.
  5. Layering:
    • Layer a low-frequency pad for warmth and a high-frequency noise pad for texture.

Would you like sound design steps for specific elements like the bassline, leads, or FX? Let me know!


You said:​

yes please

ChatGPT said:​


Detailed Sound Design Steps for Key Elements


1. Bassline (Acidic/Driving)

Objective: Create a deep, rolling, or acid bassline typical in psytrance.
  1. Oscillator:
    • Start with a saw wave for an edgy, aggressive tone.
    • Optional: Layer with a sine wave for sub-bass reinforcement.
  2. Filter:
    • Apply a resonant low-pass filter.
    • Set the cutoff frequency low (around 150-300 Hz) and automate it for movement.
    • Increase resonance to emphasize the “squelch” effect.
  3. Envelope:
    • Use a fast attack and medium decay for a plucky bass.
    • Assign this envelope to the filter cutoff.
  4. Effects:
    • Distortion: Add mild overdrive to enhance harmonics.
    • Compression: Tighten the bass sound.
    • Delay: Add a slight delay synced to the tempo for rhythm.
  5. Automation:
    • Automate the filter cutoff and resonance to keep the bass dynamic.
  6. Example Synths:
    • Roland TB-303, Serum, or Phase Plant.

2. Lead Synth

Objective: Create a bright, detuned, and expressive lead.
  1. Oscillator:
    • Use 2-3 saw waves.
    • Slightly detune each oscillator for a thicker sound.
  2. Filter:
    • Add a high-pass filter to remove low frequencies.
    • Use an envelope or LFO to modulate the filter cutoff for expressiveness.
  3. Modulation:
    • Assign an LFO to pitch for subtle vibrato.
    • Use a second LFO for panning or tremolo effects.
  4. Effects:
    • Reverb: Long decay for an expansive sound.
    • Delay: Ping-pong delay for stereo width.
    • Chorus: Adds richness and thickness.
  5. Automation:
    • Automate pitch bends for expressive transitions.
    • Gradually increase reverb/delay mix during breakdowns.
  6. Example Synths:
    • Sylenth1, Serum, or Spire.

3. Pads (Lush and Atmospheric)

Objective: Design evolving, spacious pads.
  1. Oscillator:
    • Use saw, triangle, or sine waves.
    • Detune slightly for a chorused effect.
  2. Filter:
    • Apply a low-pass filter with medium resonance.
    • Modulate the cutoff with a slow LFO for evolving movement.
  3. Layering:
    • Add a noise oscillator for airiness.
    • Create a separate high-passed layer for brightness.
  4. Envelope:
    • Set a slow attack (1-2 seconds) and long release (2-3 seconds).
  5. Effects:
    • Reverb: Use a large hall setting with a long decay.
    • Delay: Add subtle delay for texture.
  6. Example Synths:
    • Omnisphere, Diva, or Access Virus TI.

4. Arpeggios

Objective: Create rhythmic, melodic sequences.
  1. Oscillator:
    • Use saw or square waves.
    • Add a sub-oscillator for depth.
  2. Arpeggiator:
    • Set to up/down or random pattern.
    • Sync to the track's tempo (1/8 or 1/16 note).
  3. Filter:
    • Use a band-pass filter for a sharp, focused sound.
    • Modulate cutoff with an envelope or LFO.
  4. Effects:
    • Delay: Use a dotted or triplet delay for rhythmic complexity.
    • Reverb: Add to taste.
  5. Example Synths:
    • Pigments, Serum, or Sylenth1.

5. FX (Risers, Sweeps, Impacts)

Objective: Add transitions and dynamic energy.
  1. Risers:
    • Use a basic sine wave or noise.
    • Apply a pitch envelope or automate pitch over time.
    • Layer with white noise and automate filter cutoff to rise gradually.
  2. Sweeps:
    • Use white noise with a high-pass filter.
    • Automate the filter cutoff from low to high frequencies.
  3. Impacts:
    • Use a deep low-passed kick or sine wave.
    • Add reverb with a long decay.
  4. Example Tools:
    • Massive, Phase Plant, or dedicated FX libraries.

Tips for Implementation

  • Layering:
    • Use multiple layers to create complexity.
    • Example: Combine analog-sounding synths like Diva for warmth with digital synths like Serum for sharpness.
  • Automation:
    • Use automation extensively for dynamics (e.g., filter cutoff, reverb mix).
  • EQ and Mixing:
    • Cut unnecessary low frequencies in non-bass elements.
    • Use sidechain compression to create space for the kick and bass.

Specific MIDI Note Examples and DAW Setup Guidance

1. MIDI Note Examples

Below are MIDI note ideas for each element based on a minor key (e.g., A minor). You can adapt these to other keys.


Bassline (Acidic/Driving)

  • Pattern: Use rhythmic sequences around the root note (A in A minor).
  • Example MIDI notes:
    • A1, E1, G1, F1 (repeated in syncopation).
  • Variation:
    • Introduce octave jumps (A1 → A2) or pitch bends for dynamic movement.
  • Rhythm:
    • Follow a 1/16 note pattern for psytrance grooves.

Lead Synth

  • Pattern: Use a melodic sequence that emphasizes the tonic (A), third (C), fifth (E), and seventh (G).
  • Example MIDI notes:
    • A4, C5, E5, G5, E5, C5, D5, F5 (looped with rhythmic variation).
  • Variation:
    • Add pitch bends or glide between notes for a smoother, expressive lead.
  • Rhythm:
    • Use syncopation to match the arpeggios and bassline.

Pads

  • Pattern: Hold chords to create a sustained, atmospheric layer.
  • Example MIDI chords (A minor):
    • A2 (root), C3 (minor third), E3 (perfect fifth), G3 (minor seventh).
    • Move to F2, A2, C3 (F major) for progression.
  • Variation:
    • Use inversions to add harmonic interest (e.g., C3 → G2 → A2).

Arpeggios

  • Pattern: Create a repetitive sequence that follows the chord progression.
  • Example MIDI notes for A minor:
    • A4, C5, E5, G5 (ascending) or G5, E5, C5, A4 (descending).
  • Variation:
    • Adjust velocity to add humanization.

FX (Risers and Impacts)

  • Risers:
    • Use a single note like A3 with pitch automation (A3 → A6).
    • Layer white noise for additional energy.
  • Impacts:
    • Single low note like A0 with a long reverb tail.

2. DAW Setup Guidance


Bassline

  1. Track Setup:
    • Load a synth like Serum, Phase Plant, or a TB-303 emulation.
    • Set the first oscillator to a saw wave.
    • Apply a low-pass filter and map an envelope to its cutoff.
  2. Processing:
    • Add distortion (e.g., FabFilter Saturn).
    • Use sidechain compression with the kick.

Lead Synth

  1. Track Setup:
    • Load a synth like Sylenth1 or Spire.
    • Use two detuned saw waves with a third oscillator (optional) set to noise.
    • Add portamento for sliding notes.
  2. Processing:
    • Apply reverb (long decay) and delay (synced to tempo).
    • Use EQ to boost highs and cut lows.

Pads

  1. Track Setup:
    • Load a synth like Omnisphere, Diva, or Vital.
    • Use two oscillators: a saw wave and a sine wave.
    • Apply a low-pass filter with a slow LFO for cutoff modulation.
  2. Processing:
    • Add wide stereo reverb (e.g., Valhalla Shimmer) and delay.
    • Layer with high-passed noise.

Arpeggios

  1. Track Setup:
    • Load a synth like Pigments or Serum.
    • Enable the arpeggiator feature and select an “up/down” pattern.
  2. Processing:
    • Add a delay synced to triplets or dotted notes.
    • Use a band-pass filter for a focused sound.

FX (Risers and Impacts)

  1. Risers:
    • Use a basic synth with a sine wave or white noise.
    • Automate pitch (A2 → A6) and filter cutoff over time.
  2. Impacts:
    • Use a single low note on a sine wave with a long decay.
    • Add a reverb tail (e.g., Blackhole Reverb).

Overall Mixing Tips

  • Kick and Bass:
    • Use sidechain compression to create space.
  • Stereo Imaging:
    • Keep low frequencies (kick/bass) in mono.
    • Widen pads and leads using panning or stereo effects.
  • Master Chain:
    • Apply EQ, multiband compression, and a limiter to finalize the mix.

Setting Up Plugins and Sound Design Workflows

Here’s a step-by-step guide to creating the sounds and setting up the plugins for each element:

1. Bassline Setup

Plugin: Serum (or similar wavetable synth)
  1. Oscillator Setup:
    • Oscillator A: Saw wave.
    • Oscillator B (optional): Sine wave, one octave lower.
    • Blend the oscillators to taste.
  2. Filter:
    • Enable a low-pass filter.
    • Set the cutoff around 200 Hz.
    • Assign an envelope to modulate the cutoff for a plucky sound:
      • Attack: 0 ms
      • Decay: ~300 ms
      • Sustain: 0%
      • Release: ~100 ms
  3. Effects:
    • Distortion: Add light overdrive.
    • EQ: Boost around 100 Hz for warmth.
    • Compressor: Enable multiband mode for tightness.
  4. Automation:
    • Automate filter cutoff and resonance for movement during the track.
Workflow:
  • Sequence a 1/16 note pattern emphasizing the root and fifth notes (e.g., A1, E1, G1).
  • Apply sidechain compression triggered by the kick.

2. Lead Synth Setup

Plugin: Sylenth1 or Serum
  1. Oscillator Setup:
    • Oscillator A: Detuned saw waves (+/- 12 cents for thickness).
    • Oscillator B: Optional square wave for additional texture.
  2. Filter:
    • Apply a high-pass filter to remove unnecessary low frequencies.
    • Add a slight resonance peak for presence.
  3. Portamento:
    • Enable glide/portamento for smooth note transitions.
  4. Effects:
    • Reverb: Set a long decay (~2-4 seconds) for spaciousness.
    • Delay: Use a ping-pong delay synced to tempo (e.g., 1/8 or 1/4).
    • Chorus: Add subtle chorus for width.
Workflow:
  • Sequence a melody emphasizing the tonic, third, and fifth (e.g., A4, C5, E5).
  • Automate pitch bends for expressive effects.

3. Pads Setup

Plugin: Omnisphere or Diva
  1. Oscillator Setup:
    • Layer two oscillators:
      • Oscillator 1: Saw wave.
      • Oscillator 2: Triangle wave (for warmth).
    • Detune slightly for a lush sound.
  2. Filter:
    • Apply a low-pass filter with medium resonance.
    • Modulate the cutoff with a slow LFO (~0.1 Hz).
  3. Envelope:
    • Attack: ~2 seconds.
    • Decay: ~3 seconds.
    • Sustain: ~50%.
    • Release: ~2 seconds.
  4. Effects:
    • Reverb: Use a large hall reverb for depth.
    • Delay: Add subtle stereo delay.
    • EQ: Roll off low frequencies below 100 Hz.
Workflow:
  • Program sustained chords (e.g., A minor: A2, C3, E3).
  • Layer multiple instances with different octaves and panning.

4. Arpeggios Setup

Plugin: Pigments or Serum
  1. Oscillator Setup:
    • Oscillator A: Square wave.
    • Oscillator B: Optional sub-oscillator for depth.
  2. Arpeggiator:
    • Use the built-in arpeggiator:
      • Pattern: Up/down.
      • Rate: 1/16 or 1/8 notes.
      • Octave range: 1-2.
  3. Filter:
    • Use a band-pass filter.
    • Modulate the cutoff with an envelope for variation.
  4. Effects:
    • Delay: Use a triplet delay for rhythmic interest.
    • Reverb: Add subtle reverb for space.
Workflow:
  • Sequence arpeggios matching the chord progression (e.g., A minor: A4, C5, E5, G5).
  • Automate filter cutoff to create energy over time.

5. FX (Risers and Impacts)

Plugin: Massive, Serum, or noise generators

Risers:​

  1. Oscillator Setup:
    • Use a noise oscillator or sine wave.
  2. Pitch Automation:
    • Automate pitch (e.g., A2 → A6) over 8-16 bars.
  3. Filter:
    • Use a high-pass filter with automated cutoff.
  4. Effects:
    • Add delay and reverb for tail effects.

Impacts:​

  1. Oscillator Setup:
    • Use a sine wave for sub-impact.
    • Add noise for texture.
  2. Envelope:
    • Use a short decay and long release.
  3. Effects:
    • Reverb: Large room setting for dramatic impact.
Workflow:
  • Program impacts at the start of new sections.
  • Use risers to lead into drops or transitions.

Mixing and Mastering Workflow

  1. Kick and Bass:
    • Sidechain bass to kick using a compressor.
    • Roll off sub-bass in non-bass elements.
  2. EQ:
    • High-pass pads and leads to clear low-end space.
  3. Stereo Imaging:
    • Keep bass mono.
    • Pan pads and leads for width.
  4. Master Chain:
    • EQ: Balance frequencies.
    • Multiband Compression: Control dynamics.
    • Limiter: Set the track’s overall loudness.

Would you like specific plugin presets or further customization steps?


You said:​

yes please also show me the synth being used at around 8 mins 15 seconds - 10:00 mins

ChatGPT said:​


The segment analysis ran into memory constraints due to its size. I will reduce the segment length or sample rate to analyze this section effectively. Let me optimize the process and retry.
Frequency Spectrum of Segment (Reduced: 8:15 - 8:25)

Output image


The frequency spectrum of the segment between 8:15 and 8:25 reveals the following characteristics:

Synth Analysis

  1. Dominant Frequencies:
    • A strong presence in the mid and high-frequency range, likely corresponding to a lead or arpeggiated synth line.
    • Subtle low-end components hint at underlying pad textures or a subdued bassline.
  2. Synth Type:
    • Likely a wavetable synth (e.g., Serum, Vital) or a subtractive synth (e.g., Sylenth1, Spire) for the lead.
    • The evolving high-frequency content suggests modulation (e.g., filter sweeps or LFOs) applied to the lead or pads.
  3. Effects:
    • Reverb with a large decay and delay (possibly ping-pong or dotted) enhances spatial presence.
    • Subtle chorusing or detuning creates a wide stereo image.

How to Recreate This Synth

Using Serum or Sylenth1:
  1. Oscillators:
    • Use two detuned saw waves (+/- 7-12 cents) for a rich, thick sound.
    • Optionally layer with a square wave for harmonic depth.
  2. Filter:
    • Apply a low-pass or band-pass filter.
    • Modulate the cutoff with an envelope or a slow LFO for movement.
  3. Modulation:
    • Assign an LFO to the pitch or filter cutoff to create vibrato or a wobbling effect.
  4. Effects:
    • Reverb: Long decay (~3-4 seconds) and moderate mix.
    • Delay: Synced to the track tempo, with feedback around 30-40%.
    • Chorus: Subtle depth and rate for width.
  5. Automation:
    • Automate filter sweeps and delay mix for dynamic transitions.
 

Progrez

Elite Member
Jun 17, 2022
2,502 Posts
1,242 Thanked



"Multiple similar registrations have been made since then.131 A number of commenters also made the point that if a user edits, adapts, enhances, or modifies AI-generated output in a way that contributes new authorship, the output would be entitled to protection.132 They argued that these modifications “should be assessed in the same way as . . . editorial or other changes to a pre-existing work.”133 Although such works would not technically qualify as “derivative works,”134 derivative authorship provides a helpful analogy in identifying originality. Again, the copyright would extend to the material the human author contributed but would not extend to the underlying AI-generated content itself"
The Copyright Office outlines three key scenarios where AI-generated material can apply for, and receive, an official certificate of copyright from the office:

  1. When human-authored content is incorporated into the AI output.
  2. When a human significantly modifies or arranges the AI-generated material.
  3. When the human contribution is sufficiently expressive and creative.
In addition, the Copyright Office makes clear that using AI in the creative process does not disqualify a work from copyright protection. AI can assist with:

  • Editing and refining text, images or music.
  • Generating drafts or preliminary ideas for human creators to shape.
  • Acting as a creative assistant while the human determines the final expression.
As long as human authorship remains a core part of the final work, copyright protection can still apply.

However, merely providing text prompts to an AI system is not enough to establish authorship. The Copyright Office determined that prompts are generally instructions or ideas rather than expressive contributions, which are required for copyright protection.