How I Accidentally Became a DJ (Sort Of)

I thought DJing was all about spinning records and looking cool: I was wrong. There’s a lot more to it than just waving your hands around like you’re conducting an invisible orchestra. It all started with a cheap MIDI controller, a dream, and a whole lot of confusion.

One lazy Sunday afternoon, I was sitting in my tiny home studio, staring at my computer screen, trying to figure out how to make my beats sound less…robotic. I wanted that raw, gritty texture you hear in hip-hop tracks—the kind that makes you feel like you’re standing in a dimly lit club, surrounded by people who actually know how to dance. But here’s the thing: I didn’t own turntables, and my scratching skills were, well, nonexistent.

That’s when I stumbled upon Xfer Serum. If you’re not familiar, Serum is this magical synth that lets you create sounds so rich and detailed, it’s like having a full orchestra in your laptop. But I didn’t just want any old sound. I wanted that sound—the one that makes people stop and say, “Wait, is that real vinyl?”

I discovered a way to make Serum produce hyper-realistic vinyl scratches without needing a turntable or a degree in sound engineering.

HERE’S HOW IT WORKS:

First, forget everything you’ve seen online about using the noise section to create scratches. Sure, it works, but it sounds about as authentic as a plastic tree. Instead, I dug deeper into Serum’s capabilities, using its powerful wavetable and modulation features to replicate the gritty texture of real vinyl. That gives scratches that feel like they’ve been ripped straight from a DJ’s turntable.

These presets aren’t just for one genre—but for hip-hop, EDM, or even turntablism-style production. These sounds adapt effortlessly for adding a subtle scratch to a beat or going full-on DJ mode. Also, the HS-crush effects, which add that essential distortion and character to your scratches. It’s like giving your tracks a pair of worn-in sneakers—they just feel right.

The best part is that you don’t need any fancy equipment. No turntables, no vinyl, no mess. Just load the presets into Serum, tweak a few knobs, and you’re ready to scratch like a pro. It’s instant playability at its finest.

Now, I know what you’re thinking: “This sounds too good to be true.” But don’t just take my word for it. Here’s what DJ X had to say: “I’ve been using DJ scratch sounds for years, but nothing compares to the realism of these Serum presets. They feel like real vinyl, adding that authentic DJ vibe to my tracks!”

So, if you’re ready to take your music to the next level, head over to my Serum Vinyl DJ Scratch Presets download section. These presets are exclusive, unique, and designed to bring the turntable experience straight into your DAW. Trust me, your tracks will thank you.

Probably creating from scratch is what you're looking for, then go here to learn how to make Serum Vinyl DJ Scratch Presets now!

Happy scratching!

You know that skrrt-skrrt in hip-hop tracks, DJ transitions, or even lo-fi tracks that sound like a cat DJing on a turntable?

Yeah, that one.

I once tried scratching a real vinyl at a friend’s house and accidentally sent the needle flying into a bowl of chips. 

Pretending to be a DJ in Serum is way safer—and cheaper. These sounds aren’t just for hip-hop intros or EDM drops. They’re perfect for adding grit to transitions, glitchy textures, or even making your cat look at you like, “What the heck was that?”

Vinyl scratches aren’t just noise—they’re a chaotic ballet of pitch sweeps, gritty textures, and sudden stops. Imagine dragging a needle across a record (or your ex’s favorite playlist) while twisting the pitch wheel like you’re trying to solve a Rubik’s Cube blindfolded.

Realism here means nailing that “organic mess”: crackles, wobbles, and those oh-did-I-just-break-it moments.

Let’s build one from scratch.

Step 1: OSC A—The “I Swear This Isn’t a Record Player” Setup

Open Serum and head to OSC A. Select the Analog 4088 waveform. This bad boy mimics the raw, wobbly vibe of vinyl. Set voices to 1 (we’re not building a choir here) and drop the volume to 56%—subtlety is key unless you want earholes to protest. Crank the Blend +/- knob to -76%. Now, twist the WT position to 116. Imagine this as dragging the needle juuust past the groove’s sweet spot. It’s like when your GPS says “recalculating” but in sound form.

Step 2: OSC B—The Sidekick That Brings the Chaos

Switch to OSC B and load Spectral Monster 2. Two voices here—because one would be lonely. Set FM to A so OSC B piggybacks on OSC A’s chaos. Nudge the WT position to 61 and tick the Phase button. This combo adds a metallic screech, like dragging a fork on a pan but in a good way. It’s the best equivalent of adding hot sauce to your eggs.

Step 3: Noise—Because Static Is Nostalgic

Click the Noise section and pick Aircan 2. Don’t overthink it—this is the background hiss that makes your brain go, “Ah, yes, vintage.” It’s like the fuzz on an old TV show, but without the disappointment of realizing there’s nothing good on.

Step 4: Filter—The “Don’t Blow Out the Speakers” Safety Net

In the Filter tab, choose MG Low 12. Turn on the filter for OSC A, B, and Noise. Set the cutoff to 262 Hz and resonance to 3%. This tames the highs so your scratch doesn’t sound like a seagull attacking a microphone. Think of it as putting a leash on a hyperactive dog—it’s still wild, but now you’re in control.

Step 5: Envelope—Timing Is Everything

Go to the Envelope (ENV) settings. Set attack to 15 ms (the time it takes to say “oh!”), hold to 0, decay to 1 second (like a fadeout in a dramatic movie scene), and release to 76 ms. This envelope mimics the quick stab of a scratch followed by a smooth tail. Pro tip: Mess up the decay time, and it’ll sound like a DJ who forgot their coffee.

Step 6: LFO—The Secret Sauce (It’s Not Mayo)
Draw a squiggly line in LFO 1. No rules here—channel your inner toddler with a crayon. Link this LFO to Filter Cutoff and OSC A’s WT Position. Now, every time the LFO wobbles, your scratch will morph between gritty and grittier. It’s like automating a tiny gremlin to tweak knobs for you.

Step 7: Pitch Tweaks—Because Flat Scratches Are Sad

For OSC A: Crank +1 octave, -8 semitones, and 73 cents in the fine tune. Assign an LFO 1 to these knobs and the coarse pitch (but leave the octave alone—it’s sensitive). For OSC B, drop -2 octaves and -18 coarse pitch, then slap LFO 1 on those too. This creates pitch wobbles, like a DJ nervously jiggling the record.

Boom! You’ve just made a vinyl scratch that’ll fool your aunt into thinking you’ve taken up DJing. For more presets that’ll save you time (and dignity), check out my 25 Xfer Serum Scratch Presets. They’re like cheat codes for sound design. Now go make something that’ll make your neighbors text, “Is everything okay over there?”

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!