A super saw is a very common type of synth patch. You can hear the sounds of the supersaw in so many songs, but if you want to hear the supersaw in action you can check out “Party Rock“, the intro hits, The breakdown in The Chainsmokers “Take Away“, Or the lead line in “Summer Madness“.
Super Saws can be used as a starting point for creating basses, pads, brass, and strings. I’m sure I’m leaving something out here, but it’s commonly used, and versatile, so how do we make it?
Elements Of A Super Saw
7 Stacked Saw Waves
The foundation of the supersaw patch are stacked and detuned saw waves.
Using any synth, you can start by turning on multiple oscillators, and setting them to saw waves.
In my example, I am using two saw waves, but the sound still works because the two saw waves are duplicated 4 times, and detuned with unison on Ableton’s analog.
Detuning
Detuning creates phase cancellation.
Phase cancellation is what happens when two waves are added together that are opposite. The result is a change in volume. If waves are 100% opposite than the result will be silence.
In the case of detuning oscillators on a synth, phase cancellation makes the sound more organic, but shouldn’t result in total silence.
Filter Envelopes
A Super Saw should have a nice punch to the attack. One great way to achieve this is by using a low pass filter, controlled by an envelope.
A Super Saw should have a nice punch to the attack. One great way to achieve this is by using a low pass filter, controlled by an envelope.
WIth the envelope set to a very fast attack, your ear will register a bit of a punch when the note is first played.
Slow Changes Over Time
Creating a patch that sounds and feels alive can be a challenge. Using evolving elements help to keep a Super Saw sounding interesting.
Pitch LFOs
Using an LFO to slightly change the amount of detuning on an oscillator creates variations in the rate of phase cancellation, resulting in less predictable, and as a result more organic sound.
Panning LFOs
Achieving stereo depth from a sterile saw wave requires some coaxing. While detuning and pitch LFOs help to decrease the stereo blandness, panning LFOs are really icing on the cake.
Attaching an LFO to slightly change the stereo position of individual oscillators helps create variation in where your sound is coming from, also creating a more organic, and interesting sound.
Audio Effects
It’s best to take a patch as far as possible before you start adding audio effects.
Audio effects are finishing touches, but shouldn’t be used as a crutch.
If it sounds good going into an effect chain, it will sound good coming out.
Unison
DISCLAIMER: Unison is not an audio effect. But I included it here because in some software it exists separate from the synth
Unison is built into many synths. Unison takes all the pitches going out, doubles them, and detunes them from each other slightly.
When this is added to already detuning oscillators, its result is gorgeous buttery goodness. (There were just no other appropriate adjectives)
Chorus
Chorus sounds similar to unison but uses a different road to Rome.
A chorus is a very slight delay that is modulated by a very slow LFO that is mixed back with the original signal.
Reverb
Nothing exists in a bubble, so adding a little bit of reverb to a Super Saw will give it some depth and location.
I also like to use it to create a nice reverb tail when I am using it for hits.
If you need help getting a great reverb sound, here is a link to how I created my favorite reverb preset.
Compression
Compression is optional here. But I want to include it because using it tastefully, especially if you are using something with a little color like Ableton’s Glue Compressor, can bring out the sustain of the reverb tail.
What To Do Now?
I want to hear your super saw creations! Leave a link to what you have created in the comments.