Your music could use more dinosaurs. Not the cute, cartoonish ones that sell cereal, but the earth-shaking, tree-crushing, “why-is-the-ground-moving” kind of dinosaurs. The ones that make your subwoofer cry for mercy. I’ve been obsessed with these sounds since I was six, hiding behind the couch during Jurassic Park, convinced a T-Rex was going to bust through the wall. Spoiler: it didn’t. But now, years later, I’ve figured out how to bring that raw, primal energy into Sylenth1. Grab your headphones, and let’s turn your synth into a prehistoric monster.

Step 1: Building the Beast’s Vocal Cords (Oscillators)

Every dinosaur roar starts with the right foundation. Think of oscillators as the creature’s vocal cords. For Oscillator 1, select a saw wave. This waveform is gritty and raw, like the sound of a chainsaw chewing through a redwood. Crank the voices up to 8 and drop the octave to -2. This stacks multiple layers of the saw wave, thickening the sound until it feels like a herd of triceratops stampeding through your speakers.

Next, Oscillator 2 gets a triangle wave. Despite being smoother than saws, triangles still produce a powerful sound, akin to a deep, resonant growl. Set this to 7 voices and -2 octaves too, but shift the phase to 16 degrees. This tweak creates a slight delay between the waves, mimicking the way sound bounces off cave walls or gets muffled by thick jungle air. Together, these oscillators form a roar that’s both massive and textured—think “angry whale meets volcano.”

Step 2: Controlling the Roar’s Shape (Amplitude Envelope)

A dinosaur doesn’t whisper. It doesn’t politely clear its throat. It explodes. Set the amplitude envelope to attack 0.05—this means the sound starts instantly, like a roar that catches you off guard when you’re just picking berries. Decay 5.8 lets the roar fade slowly, as if the dinosaur is pacing around your track, deciding whether to eat the snare drum. Sustain 0 ensures there’s no lingering hum, and release 0.5 gives it a quick tail, like the echo of a roar that’s already stomped away. This envelope makes the sound feel alive, not like a static sample looped to death.

Step 3: Muffling the Monster (Filter)

Even dinosaurs have bad days where their roars come out scratchy. To replicate that muffled, “roaring-through-mud” texture, use a low-pass filter. Set the cutoff to 5 and resonance to 3.3, then flip on Warm Drive. This combo dulls the sharp highs while emphasizing the gritty lows, like the dinosaur’s mouth is full of leaves (or your last mix). The Warm Drive adds a subtle distortion, giving the roar a snarling edge—perfect for when the T-Rex realizes you’ve run out of snacks.

Step 4: Making the Roar Evolve (Modulation Envelopes)

Dinosaurs didn’t scream in monotone. Their voices wobbled, shook, and probably scared the scales off each other. Modulation Envelope 1 is your tool here. Assign it to cutoff (-4.3) and resonance (-2) with an attack of 4.1, decay of 0.091, sustain of 0, and release of 8.7. This makes the filter start closed, slowly open with a growl, then snap shut—like the dinosaur is testing its voice before unleashing hell.

Then, Modulation Envelope 2 takes over. Assign it to pitch (3.2) and distortion amount (3) with attack 2, decay 10, sustain 0, and release 10. This envelope bends the pitch upward and cranks the distortion as the note plays, mimicking a roar that starts as a rumble and erupts into a scream. It’s the audio equivalent of a dinosaur tripping over a log and taking it personally.

Step 5: Adding Grit and Chaos (Distortion & LFO)

No dinosaur screamed cleanly. They had dirt in their teeth, okay? Slap on a bitcrusher with amount 3.8 and dry/wet 100%. This smashes the sound into a crunchy, digital mess, like the roar’s being transmitted through a broken walkie-talkie. Bitcrushing turns polite bass into something that belongs in a tar pit.

Now, the LFO. Set it to a sawtooth wave at rate 2/1 and gain 6.3, then assign it to cutoff (3.5). This LFO slowly sweeps the filter open over time, creating a roar that builds intensity like a predator spotting its lunch. It’s the sonic version of the “Jaws” theme, but with more scales and less ocean.

Step 6: Finishing Touches (Chorus & Reverb)

Even dinosaurs need ambiance. Add a chorus to widen the sound, making it feel like the scream is coming from three dinosaurs harmonizing badly. Then, drench it in reverb—set it to mimic a massive cave or an ancient forest. This gives the roar space to breathe, decay, and haunt your listeners’ dreams. Without reverb, it’s just a loud noise. With reverb, it’s a warning.

Step 7: Download, Save, Tweak, Roar

Download, drag the “Jurassic Thunder” .fxp file into Sylenth1, and watch your synth transform into a prehistoric megaphone. It’s royalty-free, stupidly easy to install, and guaranteed to make your basslines sound like they’ve been stomping through tar pits.

Name your preset something clever, like “Raptor Rampage” or “Brontosaurus Blues.” Experiment with small adjustments: nudge the LFO rate faster for a panicked dinosaur, or dial back the distortion for a sad, lonely roar. My first attempt sounded like a goose trapped in a guitar amp, so don’t sweat it if yours isn’t Spielberg-ready right away.

Final Note: If your neighbors bang on the wall, just yell “ARTISTIC INTEGRITY!” and keep screaming. Dinosaurs didn’t apologize, and neither should you. Now go make something that would’ve scared six-year-old me back behind the couch. 🦖🎛️

You see, those feathery city-dwellers who strut around like they own the sidewalk and coo like they’re gossiping about your gardening skills. Their signature sound—soft, rhythmic, and just a little bit judgy—is weirdly charming. Maybe you want to add that organic, urban vibe to a track, or perhaps you’re just curious how to turn synth beeps into bird noises. Either way, grab a coffee (or a breadcrumb snack, if you’re feeling avian), and let’s recreate that pigeon coo using Sylenth1.

Step 1: Setting Up the Oscillators (Or, “Why Sine Waves Are a Pigeon’s Best Friend”)

Pigeon coos are smooth, rounded, and slightly wobbly—like a hum that’s had too much espresso. To nail this, we’ll start with Oscillator 1. Set the waveform to sine. This gives us that pure, soft tone, like the pigeon’s voice before it remembers it’s late for a rooftop meeting. Crank the voices up to 5 and detune them just enough to create a subtle chorus effect. Imagine five tiny pigeons harmonizing in your synth.

Now, hop over to Oscillator 2. Same deal: sine wave, 5 voices, but this time, shift the phase to 62 degrees. This adds a slight timing offset between the oscillators, mimicking the natural waver in a real coo. Think of it as one pigeon starting the gossip and another chiming in half a beat later.

Step 2: Shaping the Sound with Envelopes (Or, “How to Make a Synth Sound Like It’s Breathing”)

Pigeon coos don’t just start—they swell in, linger, and fade out like a nosy neighbor slowly closing their window. Head to the amplitude envelope and dial in these settings:

• Attack: 0.777 (a gentle rise, like the pigeon inhaling dramatically).

• Decay: 4.791 (the coo peaks, then mellows out).

• Sustain: 0.610 (it holds that mid-volume hum).

• Release: 0.782 (the sound trails off like a pigeon realizing you’re out of crumbs).

This envelope gives the coo its “living” quality. Without it, you’d have a flat beep—and pigeons are anything but boring.

Step 3: Filters—Because Pigeons Don’t Sing in Hi-Fi

Real pigeon coos aren’t crystal clear. They’re muffled, mid-focused, and slightly gritty, as if filtered through a layer of feathers and existential dread. Click on Filter A, set it to band pass, and adjust the cutoff to 4.9 and resonance to 2.2. Choose the 12 dB option to keep things smooth. This carves out the harsh highs and rumbly lows, leaving that signature mid-range “murr” sound.

Now, under Filter Control, nudge the cutoff to 4.753 and resonance to 4.467. Activate Warm Drive to add a touch of analog-style grit. It’s like giving your pigeon a cup of strong coffee—suddenly, its coo has attitude.

Step 4: Modulation—The Secret to Pigeon Drama

Pigeons aren’t robots (though they do have a killer poker face). To add movement, we’ll use Modulation Envelope 1. Assign it to the filter’s cutoff at -5.067 and set the envelope:

• Attack: 1.965 (the filter opens slowly, like a curious pigeon peeking around a corner).

• Decay: 2.000 (it settles into the main tone).

• Sustain: 5.227 (it holds that open-filter warmth).

• Release: 10 (the sound closes gently, like a pigeon tucking its head under a wing).

Next, Modulation Envelope 2 gets assigned to pitch at -5.6. Set the attack to 0, decay to 0.045, sustain to 0, and release to 10. This creates a quick pitch drop at the start of each note, mimicking the “gurgle” in a coo. It’s the audio equivalent of a pigeon tripping over a twig but playing it cool.

Step 5: LFOs—Because Even Pigeons Have Mood Swings

Time to wobble. LFO 1 should have a rate of 1/8, a gain of 3.933, and a sine waveform. Assign it to pitch at 4.6 for a gentle vibrato. This mimics the tiny fluctuations in a pigeon’s voice when it’s debating whether to fly away or demand your sandwich.

LFO 2 uses a ramp waveform at a 1/16 rate and 9.7 gain, assigned to cutoff at -4.4. This creates a rhythmic “pulsing” in the filter, like the coo is bouncing off brick walls. Pair this with a smirk, because you’re basically giving your pigeon synth a heartbeat.

Step 6: FX & EQ—The Urban Grit

Pigeons aren’t recording in pristine studios—they’re out here surviving city life. Add a Bit Crusher with an amount of 3.5 and dry/wet at 38%. This grates on the sound, like your pigeon coo is coming through an old intercom.

For the EQ, use a 2-pole curve. Boost the bass by 0.3 dB at 75 Hz (for a subtle chestiness) and the treble by 3.2 dB at 1.5 kHz (to highlight the coo’s “texture”). Now it sounds like your pigeon is perched on a fire escape, not trapped in a synth plugin.

Step 7: Save, Tweak, and Release Your Inner Pigeon

Once everything’s set, save your preset as “City Pigeon Supreme” or something equally ridiculous. Play with the knobs—maybe nudge the LFO rate faster for a nervous bird or slower for a zen pigeon meditating on a power line.

And if your first attempt sounds more like a squeaky door than a bird, don’t panic. My cat once hissed at my early version, so you’re in good company. Practice, tweak, and remember: pigeons aren’t perfect, and neither does your sound need to be.

Preset Download: If you’d rather skip the tweaking and get straight to cooing, download the preset HERE. Load it into Sylenth1, and prepare for your tracks to sound like a rooftop symphony.

Now go forth and make some pigeon magic. And if anyone asks why you’re obsessed with bird sounds, just say you’re “exploring urban soundscapes.” They’ll nod respectfully, and you’ll know the truth. 🐦✨

You know that moment when your neighbor's dog tries to howl at the moon but instead imitates a kazoo? That is the voice of this dog. It is a quavering, squeaky "aroo-hoo" that sounds like someone taught a golden retriever to yodel after three doses of espresso. I once set this as my text tone, and my friend asked if I was possessed by a confused forest raccoon.

Built with stereo wobbles (one ear gets a puppy, the other a drama-llama), a fuzzy warmth that sounds like your speaker had on a fuzzy sweater, and a pitch that wobbles up like it's asking a question before sliding down like it's regretting everything. Toss in a hint of reverb so it sounds like it’s howling from inside a cereal box, and you’ve got a noise that’s equal parts chaos and charm. Use it for cartoons, game characters, or to make your group chats 200% weirder. Just don’t blame me when your cat starts side-eyeing your phone.

Download the Preset & Go Wild

Grab the preset here and reverse-engineer it. Tweak the knobs. Make it weirder. Name it “Sir Aroo-a-Lot.” And if your neighbors give you side-eye when testing the sound, just blame it on the dog. They’ll never know.

So, you want to make an owl screech in Sylenth1 — not for music, but maybe for a podcast intro, a creepy indie game, or to scare your neighbor’s overly confident cat off your lawn? Perfect. I once tried recording real owls at midnight for a project and ended up with 90% rustling leaves and 10% “Is that a raccoon?”.

Owl screeches are sharp, and slightly unhinged — like a tea kettle left on the stove too long. We’re aiming for that high-pitched, warbling texture that makes you glance over your shoulder. Think haunted forests, not Harry Potter.

Step 1: OSC 1 — The Base Layer

Start with OSC 1: select a saw wave, crank the voices to 8, and set detune to 2.1. Pan this guy -5.2 to the left. This creates a wobbly, unstable foundation — like the owl had one too many espresso shots. Detune mimics natural imperfections because real owls don’t care about perfect pitch.

Step 2: OSC 2 — The Chaos Twin

Duplicate OSC 1’s saw wave, but give it 42 degrees of phase and 3.0 detune, then pan it +2.3 to the right. Now your owl has stereo width, as if it’s swooping around your head. The phase shift adds a subtle metallic edge, like claws on a chalkboard.

Step 3: AMP ENV — Quick Bites

Set the amp envelope to 0.7 attack, 0 decay, 10 sustain, and 0.1 release. The screech hits fast, stays loud (owls don’t whisper), and cuts off abruptly. Imagine the owl yelling, “TAKE OUT THE TRASH,” and then vanishing.

Step 4: Filter — Carve the Scream

Use a bandpass filter with a cutoff at 4 and a resonance at 10. This focuses on the mid-to-high frequencies, stripping away the “mud” and leaving the piercing core. It’s like giving the sound a caffeine-only diet.

Step 5: Filter Control — Warmth & Grit

Bump the filter cutoff and reso to 4.8 and turn on warm drive to add a subtle growl without turning the owl into a chainsaw. Warm drive is the difference between “spooky” and “haunted lawnmower.”

Step 6: MOD ENV 1 — Movement Matters

Route MOD ENV 1 to the filter cutoff with 1.7 intensity. Set the envelope to 2.6 attack, 10 decay/sustain/release. The screech should start thin, then swell into full terror — like the owl’s approaching from a distance.

Step 7: MOD ENV 2 — Resonance Shivers

Assign MOD ENV 2 to filter resonance at -0.6 intensity, with 5 attack and 0 decay/release. This briefly dulls the resonance after the initial hit, mimicking the natural “drop” in a real screech.

Step 8: LFO — Unpredictable Flutter

Use the Lorenz LFO (chaos mode!) at a 1/256T rate and assign it to cutoff with 2.2 intensity. This adds erratic warbles, like the owl’s debating whether to haunt you or your Wi-Fi router.

Step 9: Distortion & Polish

Slap on bitcrush distortion at 4.5 for a gritty, digital rasp. Then, add a subtle chorus and light compressor to glue it together. The chorus widens the sound, while the compressor ensures your owl doesn’t peak like a startled YouTuber.

Final Step: Download the Preset!

If you’d rather skip the tweaking, grab the preset here. I’ve seen folks on Reddit threads begging for unique sound effects, so consider this Sylenth1 preset your contribution to the “spooky animal noises” archive.

Bonus Tip

Pair this screech with reverb and a forest ambiance track, and you’ve got instant “abandoned cabin” vibes.

You’re knee-deep in a misty countryside pond at dusk, microphone in hand, ready to record the perfect frog chorus for your latest project. The water ripples, fireflies flicker… and you wait for the frog in silence, whispering sweet nothings about bugs and lily pads. Still nothing because frogs are the drama queens of the animal kingdom—they croak on their schedule, not yours.

Instead of bribing amphibians with imaginary flies, why not recreate their sounds from scratch? With Sylenth1 and a bit of synth wizardry, you can conjure swampy “ribbits” without muddy boots required.

Creating lifelike animal sounds in synths like Sylenth1 is a fun challenge for sound designers. If you’re scoring a nature documentary, adding quirky effects to a kids’ cartoon, or building unique textures for film projects, recreating it can be the shortest way.

Step 1: Oscillator Setup for Depth

Load a Trisaw waveform into OSC 1. Lower the octave to -2 to anchor the sound in a deeper register, to mimick the throaty rumble of a frog. Set the “Voices” to 2 and add a detune of 3.8. This creates subtle phasing, replicating the real animal voices. Experimenting with detune is a good way to learn how harmonics interact in sound design.

Step 2: Amp Envelope for Natural Dynamics

Adjust the AMP ENV to Attack: 0.9, Decay: 3.5, Sustain: 0, Release: 0.1. The sharp attack mimics the sudden “pop” of a frog’s croak, while the decay allows the sound to taper off naturally. Sustain at zero ensures the sound doesn’t drone—critical for short, punchy effects in animations or wildlife presentations.

Step 3: Filter Tweaks for Gritty Texture

Switch the filter to Bandpass mode with a cutoff of 4.1 and a resonance of 2.2. In the filter control section, raise the cutoff to 5.8 and resonance to 7.3. Activate “Warm Drive” to add a subtle crunch. This grit works wonders for sounds in documentaries or indie films where authenticity matters. Bandpass filters are underrated for isolating midrange frequencies, which is where most animal sounds live.

Step 4: Modulation for Realistic Movement

Assign the MOD ENV to the filter cutoff at 0.6. Set the envelope to Attack: 2.5, Decay: 0, Sustain: 0, Release: 10. This creates a slow swell in the filter, mimicking how a frog’s call expands in volume and pitch. Pair this with an LFO (sine wave) routed to pitch at a rate of 1/4T and a gain of 9.7. The gentle pitch wobble adds unpredictability, much like a real frog’s irregular croaking pattern.

Step 5: Effects for Depth and Polish

Add overdrive distortion at 50% to roughen the edges—this isn’t a studio-recorded frog, after all. A light compressor evens out the dynamics, and a touch of reverb places the sound in a space, like a misty pond or rainforest. These effects are staples in film and game audio for creating environments.

Why This Preset Works Best for Creative Projects

I used a version of this frog sound in an educational video about wetland ecosystems. The client loved how it blended with field recordings without feeling artificial. For indie creators, tweaking presets like this can save hours of searching for the right sample.

While testing this preset, my cat pawed at the studio monitor, convinced something alive was inside. It’s a reminder that even synthetic sounds can trick ears—human or feline.

Since its release in 2007, Sylenth1 has been a go-to for designers needing warmth and flexibility. Its intuitive workflow makes it easy to experiment, whether you’re designing animal sounds, sci-fi effects, or ambient textures.

Click here to download the preset. Layer this frog sound with real recordings of water or insects. It’s a trick used in nature films to add depth without overloading the mix. And if you’re just starting out, dissecting presets like this one is a hands-on way to learn synthesis.

Now go make some noise—preferably the kind that doesn’t lure confused pets into your workspace. 🐸

If you’ve ever scoured forums for Sylenth1 presets, synth patches, or unique FX sounds, you’ve probably seen endless requests for bass wobbles, plucks, and pads. But what about quirky, organic textures? Now, we’re making a custom cat vocal preset in Sylenth1—for sound design projects, experimental FX, or adding personality to synth packs. No genre tags, just pure synth-science.

Step 1: Layer Your Oscillators for Organic Texture

Open Sylenth1 and reset the panel. For Oscillator A1, select a saw wave with 8 voices and drop the octave to -3. This creates a dense, airy base. Activate Oscillator A2, switch to a sine wave, and set 7 voices, octave -2, phase 79, and detune 3.133. The sine’s purity paired with detune mimics the natural harmonics of a feline whine.

Detuned oscillators are key for “imperfect” organic sounds—think animal vocals or weathered synth textures.

Step 2: Sculpt the Amp Envelope and Filter Dynamics

In the Amp Envelope, set attack to 3.3, decay to 4.3, and leave sustain/release at 0. This sharp decay mimics a short vocal burst. For Filter A, choose a lowpass type with a cutoff of 3.7, resonance of 10, and drive of 2. Under Filter Control, adjust the cutoff to 6.3, resonance to 2.133, keytrack to 4.3, and enable “Earm Drive” (a quirky typo that oddly works for adding raspiness).

I once used similar filter settings for a robotic frog sound. Flexibility is Sylenth1’s superpower!

Step 3: Modulate Movement with Envelopes

MOD ENV 1 is critical here. Assign the cutoff to -3.333 and reso to -3.4, with envelope settings. Attack: 5.5, Decay: 7.5, Sustain: 3, Release: 10. This creates a “morphing” effect, like a meow rising and falling. For MOD ENV 2, link the pitch to 4.5 and the distortion amount to -6.5 (distortion comes later). Use A:1, D:5, S:10, and R:0 to add pitch instability—for that “Is this cat annoyed or curious?”

Synth animal sounds date back to the 1970s. The Fairlight CMI’s “meow” sample became a secret weapon for sci-fi soundtracks.

Step 4: Inject Life with LFOs

LFO 1 (saw wave) modulates pitch at 2.4, rate 1/1T, gain 5.7—this adds a nervous vibrato. LFO 2 (also saw) targets reso at -5, rate 1/32, gain 2.4. The combo creates irregular tonal shifts, like a cat’s unpredictable chirps.

Reddit’s sound design forums love LFO-driven “living” presets. This technique is gold for animated FX patches.

Step 5: Polish with Effects

Enable distortion (overdrive, amount 50) for subtle grit. Add chorus (delay 8.8 ms, size 0.6, depth 40%, wet 50%) to widen the sound. Finally, tweak the EQ: boost bass by 3.7 dB at 245 Hz and treble by 9.9 dB at 2.6 kHz. Set the mix to 6.6 to blend everything smoothly.

A game dev friend used this preset for a virtual pet’s “happy” sound. Players swore it was a real cat—until the preset went viral on Splice.

Grab the Preset & ProTips.

Download the preset here and compare.

If you’re building a Sylenth1 preset pack, designing sound FX, or just making a creative challenge, this cat sound is probably a fun addition. Tweak the LFO rates or filter keytrack to create variations—maybe a sleepy purr or a feisty hiss? Share your edits with the #Sylenth1Crew hashtag.

Looking for more offbeat presets? Let me know—I’ve got a duck quack in the works.

Say you’re working on a track that needs a touch of humor, maybe a children’s project or a lo-fi beat with barnyard vibes. Suddenly, you realize—you need a realistic pig sound. No, not a sample from a dated library. You want to craft it yourself, twisting knobs and shaping waveforms until your synth oinks. As a producer who once spent three hours trying to replicate a goat’s bleat for a psychedelic folk track (true story), I’m here to guide you through the delightfully weird process of creating pig sounds using XFer Serum.

Pig vocalizations are a messy mix of grunts, squeals, and snorts—a chaotic blend of low-end rumbles and high-pitched harmonics. Serum’s wavetable engine is perfect for this because it allows for precise manipulation of harmonics and noise, essential for mimicking organic sounds. Historically, synthesizers have been used to create animal sounds in films (think Star Wars bantha cries), but Serum’s modern flexibility lets you go beyond presets and get weird.

Step 1: Start with the Right Waveform

Pig grunts sit in the lower mids (200–500 Hz), while squeals shoot up to 2–4 kHz. To replicate this:

• Oscillator A: Start with a sawtooth wave. Saw waves are rich in harmonics, mimicking the nasal texture of a pig’s squeal.

• FM (Frequency Modulation): Apply light FM from Oscillator B (sine wave) to add grit. Adjust the FM amount until it feels “snorty.”

Pro Tip: In 2021, I accidentally created a perfect pig snort while experimenting with FM on a bass patch. The key was setting Oscillator B’s pitch 7 semitones higher and using a 25% FM blend.

Step 2: Modulate the Filter for Dynamic Grunts

Pig sounds aren’t static—they warble and shift. Use Serum’s LFO to modulate the filter cutoff:

1. Set up an LFO with a random wave shape (Serum’s “Mega Random” works great).

2. Assign the LFO to the filter cutoff of a low-pass filter.

3. Adjust the LFO rate to ~2 Hz for a natural, erratic grunt rhythm.

Real-World Example: For a commercial jingle, I automated the filter’s resonance to spike briefly during “squeal” moments, mimicking a pig’s sudden high-pitched outburst.

Step 3: Layer Noise for Authentic Breathiness

Pig sounds are breathy and noisy. Serum’s noise oscillator is your friend here:

• Enable the Noise Oscillator and select the “Pink Noise” preset.

• Use a high-pass filter to remove rumble, then blend it subtly with your main oscillator.

• Assign an envelope to the noise level so it spikes during attack phases (like the start of a grunt).

Historical Nugget: Pink noise was famously used in the 1980s to create the “breath” sounds of the Xenomorph in Alien. Pigs aren’t aliens, but the principle’s the same!

Step 4: Add Movement with Effects

• Reverb: A short, dense reverb (try “Room” settings) places the pig in a barnyard.

• Distortion: A touch of Serum’s “Downsample” effect adds a raw, gritty edge to squeals.

• Pitch Modulation: Assign a slow LFO to Oscillator A’s pitch (±5 cents) for unstable, “living” vibrato.

Personal Anecdote: Once, while demoing this patch live, an audience member yelled, “Is there a pig backstage?!” Mission accomplished.

Bonus: Download My Pig Sound Presets

If you’re short on time, I’ve crafted a set of Serum presets that nail everything from lazy grunts to panicked squeals. Grab them here: Serum Pig Sounds Preset Pack.

Why Bother Making Pig Sounds?

Beyond the novelty, synthesizing organic sounds sharpens your sound design skills. You learn to listen critically—how a pig’s grunt has a sharp attack and slow decay, or how its squeal resembles a distorted violin. Plus, it’s a riot to surprise collaborators with your farmyard synth wizardry.

So fire up Serum, embrace the absurd, and remember: If Mozart had a synth, he’d probably have made a pig symphony too. 🐷🎛️

Got your own quirky sound design stories? Share them in the comments!

In this quick and easy tutorial, learn how to recreate chick sounds with Sylenth1. Within 70 seconds, I show you how to create cute, chirpy baby bird sounds from scratch with this powerful synth. This will certainly help you create life-like animal sounds in the blink of an eye.

🔊 What you'll learn:

▶Step-by-step chick sound design using Sylenth1 

▶Quick tips for creating realistic bird chirps

▶How to manipulate Sylenth1 to produce natural animal sounds

▶The basics of using synths for wildlife sound design