DISCLAIMER:
If you want the closest sound available to JR Liquid T Lead you have to own a Kurzweil and load the Liquid T Lead preset from a K2600 bankset. If you have a Kurzweil with Contemporary ROM, change Keymaps for Layer 4 and 5 to DistortedGuit: it sounds way better.
In this article we are going to try and replicate this sound with special attention to non-Kurzweil owners. I repeat once again: IF YOU WANT THE LIQUID T LEAD, GET A KURZWEIL.
Always remember these aren’t mandatory rules about how to create a Jordan Rudess lead tone: it’s only an intepretation. Feel free to use other sounds and techniques in order to obtain the same results or better ones.

Special thanks, for their contribution, to:
- Alberto Rizzo Schettino
- Andrea “Overlord” Vergori
- Luca “Firestorm” Di Gennaro

You’re great, guys.

Since I owned a Kurzweil K2500 I know how this patch works. Originally, this patch is made using 10 layers. Most of them are used for feedback and to add more harmonic content to the sound. Anyway, this is the most complex lead to explain and re-create.. when I started to write this article my first thought was on how to show this sound: should I compare Kurzweil layer samples with custom made ones trying to achive the same result? Should I show a complex patch using parameter tables, Oscilloscope captures and so on?
There are lots of variables and lots of words to write in order to show this patch at its best but I’ve chosen to keep it simple so that noone gets bored with tons of parameters. I’ve created two patches in order to give a lot of fun to either those who love tweaking and to those who don’t.

I am going to split this article into three main sections:

- Analysis of Kurzweil sound
- JR Lead Lite Version: Analog Emulation using 4 Layers.
- JR Lead Full Version: Analog Emulation using 8 Layers.

Before going deep inside programming, keep in mind that we will use a lot of layers so - unless you have a synth that gives you the possiblity to use more than two voices per program - I suggest you to make a single program per layer and then group it inside a Combi/Performance. You also need a good effects section. There are some effects (mainly saturations and distortions) that you need to use inside the program while others can be used even with external effects processors.

- Jordan Rudess’s Liquid T Lead Analysis -
This is one of my favourite leads. It fits everywhere. You can use it for your shredding wild solos as well as on slow ballads. It has a unique sound and it is hard to get on other synths because it was created on a Kurzweil VAST based synthesizer.

Let’s look inside with a quick review of VAST Engine.
VAST (Variable Architecture Synthesis Technology) is the core engine for Kurzweil K2*00 series. It uses a semi-modular environment combined with both PCM sampled sounds and DSP based single cycle waveforms. You can choose an algorithm with a prefixed block displacement, and you can choose a different DSP function for each block. One of Kurzweil peculiarity is the way filters sound. They aren’t warm and cannot self-oscillate when you rise their resonance to the highest values but they surely have their own character. Every Kurzweil sound can fit into a mix without too much efforts but, its also true, that it is very difficult to make warm analog sounds with those filters. This is why, sometimes, a Kurzweil programmer needs to create “ghost tracks” (some very quiet layers) that have only certain frequencies and, in this way, shape the sound like a sculptor shapes his creation from a block of wet clay.

Kurzweil users can benefit of this patch without too much effort. In fact is a K2600 factory preset and it could be loaded even into a K2500 or even into a K2000. This patch is 10 layers thick and uses a wide range of sound processing. For non Kurzweil owners, here is how this program looks like. The following sounds come from a modified LTL preset, using Contemporary ROM keymaps.

Click on each layer to hear how them sounds.

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Layer 1 - Algorithm #4 - Keymap: 14 - Flute
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Layer 2 - Algorithm #4 - Keymap: 152 - Dull Saw
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Layer 3 - Algorithm #5 - Keymap: 151 - Sawtooth
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Layer 4 - Algorithm #1 - Keymap: 814 - Distorted Guitar
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Layer 5 - Algorithm #1 - Keymap: 814 - Distorted Guitar
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Layer 6 - Algorithm #4 - Keymap: 14 - Flute
———————————————————————

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Layer 7 - Algorithm #4 - Keymap: 134 - Partials 1&2
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Layer 8 - Algorithm #5 - Keymap: 151 - Sawtooth
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Layer 9 - Algorithm #4 - Keymap: 163 - Sine Wave
———————————————————————

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Layer 10 - Algorithm #1 - Keymap: 1 - Grand Piano
———————————————————————

Now you can have a better idea about what lies behind this lead tone. If you have a PCM based synth (a so called rompler) you can also use similar sounds as source voices and then filter them according to what is explained in the next pages.

- JR Lead Lite Version (4 Layers only) -

I’ve found that we can get a usable sound using only 4 layers. Two of them are the core sound, one is dedicated to feedback and, the last, is used both to add harmonic content and feedback.

Let’s start with our first layer. We need a detuned Saw Wave. I’ve used +12 cents but you can modify it until you find a suitable value. Make a program and put this wave as oscillator, then add a 2 Pole Lowpass Filter.

Note:
Since the original Kurzweil patch uses Steep Resonant Bass in this layer, we need to achive a similar result using a 2 Pole Lowpass filter and a Peak EQ (or Bass Boost) since we need to pump up low frequencies.

Set the filter cutoff to a low value, around 73Hz, and raise Resonance to an high value (in a scale from 1 to 10, you have to set it around 7). Set the Velocity as controller for the filter cutoff. Set it to a value around 30%. Don’t forget to set the Keyboard Tracking (or Keyboard Follow) to 25%. Now we need to boost the low frequencies a bit. Choose a Peak EQ, set its frequency to 150Hz and pump the gain over 10db. At least, we need to waveshape it with an Overdrive/Distortion. Put it into your effects chain, as insert, and tweak it to achive a sound like this one.

Fig. 1 - Our first layer. Click the figure to hear how it sounds.

Now go on your AMP page. We have to set this sound to low its amplitude when we use aftertouch in order to make our feedback layers to be heard clearly. This layer have to be 77% of total amplitude and going down to 50% when aftertouch is used. If your synth uses 0-127 values, set the amp to 99. Now assign aftertouch control to Amp Level and set its gain to -35. Remeber that we’re using a 0-127 scale. In percentage, you’ve got to lower the Amplitude by -27%.

Now we have to set the Amplitude Envelope. A standard ADSR setting would be a fast Attack, Decay of 450ms, Sustain to 3/4 of its full range and a little Release of 6ms.

Note:
The Amplitude Envelope settings are the same for all layers.

——————————————–

Our second layer is similar to first one. You need another detuned Saw wave, this time by +4 cents. As filter we use a 2 Pole Highpass, with same Velocity control as our first lowpass filter, and we will set its cutoff to 58Hz and its resonance to 3/4 the whole range. Set Keyboard Tracking to 100%. You also need to saturate this layer a bit so an Overdrive with a light setting is what we need to finish the job.

Fig. 2 - Our second layer. Click the figure above to hear how it sounds.

Apply the same Amp settings as first layer, even for Aftertouch and Envelope.

———————————————

Our third layer will be a detuned Square Wave this time. Detune it by +4 cents and add a 2 Pole Lowpass filter. Set the Cutoff to a value around 2.60KHz and a low resonance. Don’t use Velocity control and Keyboard Tracking at this stage. Add a light saturation to this layer and go to the Amp page. Set the Amp Envelope as the other two previous layers. Amp Level, this time, must be half the maximum and the Aftertouch has to be raised by +32% (or +21 in a 0-127 scale).

Fig. 3 - Our third layer. Click the figure above to hear how it sounds.

——————————————–

Now is the time to make our feedback layer. You need a Sine wave tuned one octave above (+12 halftones) and a little saturation or clipping. You don’t need any filter, but if your synth doesn’t let you bypass it simply turn the cutoff to its maximum value with no resonance. Go to Amp page. Set Amp Level to minimum and assign Aftertouch to raise its level up to the maximum.

Fig. 4 - Our feedback layer. Click the figure above to hear how it sounds.

——————————————–

The sound is almost complete. We need to group these single programs to a Combi/Performance and add some effects to it. Set the global pitch bend to -12/+2 so you can go one octave below when you do a pitch bend down and a whole tone above when you do a pitch bend up. Take a breath and check your actual result. Now your algorithm should be like this:

Fig. 5 - Our patch without effects. Click the figure above to hear hear it sounds.

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Open your new made Combi and go into your Global Effects page. There are two effects that are mandatory: a Stereo Chorus and a Stereo Delay. In my patch I got a more populated FX chain using a little saturation, a stereo chorus, a 6:1 compressor, a stereo delay and an hall reverb. If your synth gives you the possibility to build such complex effects chain, experiment with those effects.

Fig. 6 - Effects Chain

The Stereo Chorus, as you can see, is needed to give a more presence to whole sound with a little detuning. Set its Dry/Wet to 60%. Now set the Stereo Delay to 400ms and a little feedback. Set the Dry/Wet to 20%.

Save the work and test it. It would be sound like this one.

Download MP3 Now!!!

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- JR Lead Full Version (8 Layers) -
Now, for those who love tweaking and tricking with parameters, we can try to achive a better result by adding other layers. No time to chit-chat.. let’s go.

Make a new program and use a detuned PWM Saw wave. Detune it by -1. If you don’t have a PWM Saw, you can use the trick explained in past Lead Sculpting issues. Add a 2 Pole Lowpass filter with no resonance and set its cutoff to 3.5KHz and a Keyboard Tracking of 25%. Assign the Pitch Bend as cutoff controller and set it to +10%. Remember to use same Amp Envelopes as existing layers and set Amp Level to 80%. Assign Aftertouch to modulate Amp Level. You need to low its value by -25%.

Fig. 7 - Our new layer. Click the figure above to hear how it sounds.

Note:
Remember to disable global effects before comparing your sound with ours.

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Next two layers are almost identical. For the first one you need a detuned (by -1 cent) Saw wave and a 4 Pole Lowpass filter without resonance. Set the cutoff to 185Hz and assign Keyboard Tracking to 50% and an Envelope as modulator with depth of 55% (70 in a 0-127 scale). You just need the Decay value so set it to almost 10 seconds and set other values to 0. Go into the Amp page and set the Amplitude Envelope with same values of other layers. Set the Amp Level to 77% of the maximum and assign Aftertouch as controller, again, to low the gain signal by -27% (-35 in a 0-127 scale).

Fig. 8 - Our 2nd new layer. Click the figure above to hear how it sounds.

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Now copy the last layer and do this little modification: Set the detune to -4 cents, the filter cutoff to 174Hz and change the Amp Level. Set it to 15% (20 in a 0-127 scale) of the total amplitude. Yes, this one is very quiet because it is a feedback layer. Set - once again - Aftertouch as Amp Level controller and set its value to max.

Fig. 9 - Our new feedback layer. Click the figure above to listen how it sounds.

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Now the last one. Make a program with two voices (Double for Korg synths) and use a Square wave and a Saw wave. Detune them by +5 cents. Amp Level for this program is around 60% and no controller is assigned to it. Note that this is the gain for the whole program. Inside of it you have to mix your two voices properly since the Saw needs to be half the amplitude of the Square wave.

Fig. 10 - Our last layer. Click the figure above to hear how it sounds.

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Now do as you did with the Lite version of this sound. Create a Combi/Perfomance, put all sounds into, set the proper Pitch Bend values (-12/+2) and add the same effect chain. Your algorithm should be like this one:

Fig. 11 - The full patch. Click the figure above to hear how it sounds.

That’s all, folks. I hope you all can enjoy this article so much.
Feel free to ask questions, comments to this article as well as mp3 of your attempts.

Musically,
Luca

Post from: Progsounds - Online Synthesizer Resource

In this thread we will speak about how to obtain a Wah lead (famous for Derek Sherinan Monster Lead) for Korg Triton/Karma. This topic will be also “axiomized” for apply the tips i found tweaking to all “general” synth.
So thanx to “uncle” Axiom in advance.

NOTE:
When you see quotes in this color, are Axiom’s notes to original author’s writing. Check them out for all general programming hints for non-Korg boards.

DISCLAIMER:
The following material is the totality of some tips and ideas i’ve found “tweaking” in order to make MY OWN wah lead sound. (You can find the Whaster F@B lead in the Korg Patches Area). Anyway i didnt invented nothing new…

Lets Go.

What do you need for this lead sound.

- 2 oscillators (featuring a saw wave and a pulse wave possibly at 33%)
- an extra program with a sine wave that will act as feedback sound
- 2 filters
- 2 amps
- 2 lfo
- HEAVY EFFECTS. (flanger,phaser,hyper overdrive,delay)

[BASIC]

Oscillator Mode: Double
Voice Assign Mode: Mono
Enable the “Legato” option and set “Priority”: last

OSC1: high rom 264 “Saw-MG3″ at Octave: -1 [16']
OSC2: high rom 270 “Pulse-33%” at Octave: -1 [16']

For Both Oscillators:
Level: 127
Transpose: +00
Tune: +0000
Delay: 0000ms

[PITCH]

JS (+X): +12
JS (-X): -24
Set that values only if you want to make some crazy bendings and slide…

Tip: for some rock effect gradually put up (+Y) for “wah2 doing contemporary a (-X) bending. SHOWTIME! LISTEN TO THIS MP3

The Feedback layer
If you want to give your lead an extra, add a feedback layer using another program (or another layer) with an unflitered sine wave tuned one octave above (Coarse pitch +12). Go to Amp page of your synth and put the level of this sound to minimum. After that select a controller for Amp Level and choose aftertouch. Tweak with modificator amount to find a suitable level.
Now do the opposite on oscillators created before. Go on Amp page, set Aftertouch as controller but put a negative value for that.

In this way we will do a crossfading between the main sound (Osc1+2) and the feedback sound (sine wave).
Please note that those values are only for example purpose. Check your synth owner’s manual to know how to assign a controller to a parameter.

[BREAK]

[FILTERS]

Filter 1
Type: Low Pass Resonance
Trim: 99
Frequency: 40
Resonance: 05

EG:
S:+00 A:+99 B:+99 S:+99 R:+00
A:+00 D:+99 S:+99 R:+00

Filter 2
Type: Low Pass Resonance
Trim: 99
Frequency: 90
Resonance: 00

EG:
S:+05 A:+00 B:+10 S:+00 R:+05
A: +00 D:+05 S:+00 R:+05

Fig. 1 - Oscillators and Filters

Note: Please note that each column in Fig. 1 stands for a single voice/program/layer of your board. If your synth doesn’t let you use two separate voices with two separate filters, do different programs that you will package in a combi/setup/performance later.

Tip: To have a good response everywhere on the keyboard you’ll have to work on the Keytracking (here the values for the Trion’s series: Key Low F4, Key High C1)

[AMPS]

-Amp1:

Level: 100
Pan: C064
AMS:Note No.
Intensity: +00
Amp Mod: Velocity Int: +35

EG:
S:+00 A:+99 B:+90 S:+99
A:+00 D:+99 S:+99 R:+01

-Amp2:
Basically put the same values of amp1…try to change slowly the values to give your “own” touch…

Fig. 2 - ADSR Amp Envelope

[LFO]

Select a basic Triangle waveform and set the cutoff/frequency at 60/70,no offset. Fade on 0 and Delay on 0.
The first control on the frequency modulation must be : Note Number and the second to JS+Y.

At this point, without effects your patch will sounds like this one.

[BREAK]

[EFFECTS]

Okay, here comes the huge work…
Your effect chain must be something like this:

flanger -> phaser -> hyper overdrive/wah -> pitch shift modulator -> phaser -> delay ->>> master EQ gain[db]

Note:
If your synth don’t let you use an effects chain like this one, you have to use a filter trick to achive a wah sound. If you can put two filters in series on a program, add a resonant bandpass filter with a CutOff of 220Hz. Assign a physical controller (Mod Wheel, Joystick and so on) to its CutOff and find a suitable value. On your effects page, then, add a distortion. If you can only use one filter per program, change them from Lowpass to Bandpass. Set their Resonance high, but not higher. Remember to don’t apply any filter to feedback layer.

On the Triton’s series we will use the IFX for the 4 first effects.

[IFX]

1) 020 St.Flanger

LFO Wave: Triangle Delay: 0.0ms
LFO Phase: +90 deg Depth: 50
Freq: 0.50Hz Feedback: -50

Wet/Dry: -50:50

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2) 023 St.Phaser

LFO Wave: Triangle Manual: 90
LFO Phase +90 deg Depth: 30
Freq: 0.70Hz Resonance: +40

Wet/Dry: 50:50

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3) 092 OD/HyprG Wah (this particular effect take a double slot)

Wah: On (of course… )
Sweep Range: -10 Source: JS+Y
Mode: HyperGain Drive: 120
Pre Low-Cut: 5 Level: 8

internal equalisation:
Lo: 1.00Khz Gain:+12dB
M1: 3.60Khz Q:2.0 Gain:+12dB
M2: 11.00Khz Q5.0 Gain:-3dB

Direct Mix: O Speaker Sim: OFF

Wet/dry: WET

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4) 039 PitchShft Mod

Pitch Shift: -5 cent
LFO Wave: Square
Freq: 1.00Hz?Depth: -5
Wet

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[MFX]

1) 023 ST.Phaser (i find this cool to put after the PSM) Rtn:127

LFO Wave: Tri
LFO Phase: +90 deg
Freq: 0.94Hz
Manual: 90
Depth: 96
Resonance: +73

W/D: -10:90

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2) 043 LCR Delay (have i told you that delay works better than rev….oh f..k i’m boring …) Rtn:036

L delay:300ms level 30
C delay:500ms level 30
R delay:200ms level 30

———————————-

MEQ:

Low Cutoff: 80hz gain-2db
Mid Cutoff: 3.20Khz Q.1 Gain-2.5db
High Cutoff: 8.00Khz Gain+1.5db

Your Sound Is Finished CONGRATS! and it sounds like this MP3.
Dont forget to post some samples of your results.

Post from: Progsounds - Online Synthesizer Resource

**************
* Jens tone Lead *
**************
Check Jens lead tone here: Offsite link to Jens page. This is an excerpt from Heavy Machinery. Listen at 42s or 1:17

If you want to listen it better, check Jens jam over Alberto Rizzo Schettino Horizon.

Amazing, isn’t?
Well, one of things that we can notice immediately is that each note seems “picked”. This is because this lead, other then monophonic, is not legato. The difference between legato monophonic and Jens tone are due to Amplitude Envelope Triggering. When you use legato, the envelope is triggered first time you play a note and is not retriggered until you don’t fully release the key. When you don’t use legato, envelope is retriggered each time you play a note. This is also called staccato.

Quote:

This tone lead is a monophonic staccato. It don’t use any legato nor glide settings. Each note will retrigger the Amplitude Envelope which have a fast attack, a long decay, full sustain and no release.

Another thing we will notice immediately is that this lead use distortion. As far as I know, Jens used a Morley JD10 Guitar Amp Emulator which is a stompbox made by Morley and seems to be a very rare item to find.

The use of a distortion pedal lead us to another important thing about lead sculpting.

*************
* Other Details *
*************

Jens’ tone is very expressive. The attack sound varies because of a velocity controller applied to the filter cutoff. It is also possible to hear some variations in the harmonics even when a note is just sustaining. This is due to a detuned saw oscillator combined with a Pulse Oscillator with PWM, controlled by a slow LFO.
The most difficult thing to achieve is the fast vibrato that sometimes he uses. You can notice what I mean listening to end part of Jens Jam over Alberto Rizzo Schettino Horizon.

In the next page, we will try to achive a staccato tone lead using core characteristics we have learned so far. I can tell you that all you need are two oscillators, a couple of LFOs, an envelope and a distortion.

I’ve thinked how to explain all following settings in a manner that almost everyone can replicate this lead on its keyboard. The choice is to use modular environment due to the fact that, in this way, we can break the sound from its basics and, then, the modular environment permits to use bricks that can be found on any subtractive synthesizer.

Let’s go!

Here follows a breif check list of what we need to make this sound.

Check List

• #1 Pulse Oscillator
• #1 Saw Oscillator
• #1 resonant filter
• #1 assignable LFO
• #1 Amplitude Envelope
• a Chorus
• a Distortion

Don’t worry if you don’t have effects on your board. You can add them at the bottom end of chain, so you can use external outboards for that.

We have to fit in our mind that this sound seems to be originally made on a Korg Polysix. A Polysix let you choose only one waveform between a saw, a pulse with manual pulse width and a pulse with PWM (Pulse Width Modulation). At least you can add some presence using Unison assigning all six voices to one note bringing the board to be monophonic. A staccato monophonic. You can also have an inboard effect to choose between a soft chorus, a medium phaser and an heavy ensemble.

Now go into your synth Voice section (or Oscillator, Keymap or whatever is called where you can choose a waveform). Pick a Pulse oscillator.

Fig.1 - Click above to listen this Pulse waveform

If your synth permits you to choose pulse width, set it around 33%. If you don’t have a pulse, search for a waveform which sounds like this one.

Now choose an LFO with a sine waveform, set its range around 0.10Hz (very slow) and assing it to Pulse PWM.

Fig.2 - Click above to listen Pulse PWM

If your synth don’t have pulse width modulation, take a look to Gordon Reid’s article about PWM and how to replicate it.

Now add another voice (or Layer) to your program and choose a Saw waveform.

Fig.3 - Click above to listen this detuned Saw waveform

Fine detune it by 3ct (cents of halftone). In this way the harmonic content of the resultant will change slowly, adding a flange like effect to the mix.
Now your algorithm should look like this:

Fig.4 - Click above to listen Pulse PWM and Saw mix.

Remember to save your work

Now is the time to filter those waveform. Go into your synth filter section and choose a Bandpass filter. I know that Korg Polysix only have a resonant 4 pole lowpass filter and its modulated by an envelope, but choosing a resonant 2 pole bandpass can give you a good tone without lot of complications.
Choose a CutOff around 130/200Hz and set, if you can, Velocity as modulator for CutOff. If you can’t set it, choose an LFO as modulator. Use it very softly.

Fig.5 - Click above to listen filtered oscillators.

Now your patch is almost complete. You need to set the amplitude envelope so… go into your synth Envelope page and set it with a fast Attack, no Decay, full Sustain and no Release.

Fig.6 - Amplitude ADSR Envelope.

Save your patch. Now your algorithm should look like this:

Fig.7 - The Lead Patch without effects.

It sounds cool, but you need to add some effects so… go into your effects page and select a light Chorus and an Overdrive (or Distortion). Tweak them until you don’t get a tone you like. Rember Jens’ advise about soloing for equalization settings.

Fig.8 - The Lead Patch completed

Save your work and start playing.
Feel free to ask question and add some sound sample of your results.

Post from: Progsounds - Online Synthesizer Resource