Synthetic Wilderness: Recreating Nature sounds

This recent cold snap had a lot of us stuck indoors unable to fully enjoy the beauty our planet offers. Nature is full of intricate, chaotic sounds, from the whisper of the wind to the stochastic pulses of ocean waves. With modular synthesis, we can recreate these organic textures, giving us an interesting way to add atmosphere to our music.

The beauty of synthesizing nature sounds lies in the balance between randomness and control. Whether you’re making ambient soundscapes or textures to enhance your drum and bass track, learning to patch these sounds can open up new creative possibilities for your compositions.

This is a mix of all the sounds I plan to break down in this article. It should give you an idea of what is possible.

Why not use samples?

Go for it, there’s nothing wrong with samples. You be you. Buuuuut… Synthesizing nature sounds is damn fun, and it has practical benefits for musicians and sound designers alike:

• Sharpen your ear for detail – Training your ears to recognize and replicate complex natural textures improves your overall sound design skills.
• Deepen your understanding of synthesis – Breaking down organic sounds forces you to think critically about synthesis fundamentals like modulation, filtering, and amplitude shaping.
• Learn the art of subtlety – Nature sounds require nuanced modulation and layering, teaching you to carefully balance randomness and control to recreate organic textures that feel alive.
• Build Skills for otherwolrdly sound design – The difference between bird sounds and sci-fi bleeps might only be a quarter turn of a pot. Mastering natural sound synthesis equips you with techniques to patch immersive, atmospheric, and entirely unique environments.
  

Nature’s Sound Palette

Before moving on to patching, it’s crucial to listen critically to the natural world. The sounds of wind, rain, and waves aren’t just random noise; they contain patterns, textures, and dynamic changes that can be recreated with the right synthesis techniques. Training your ears to recognize the subtle qualities of these sounds will help you make more convincing patches.

In modular synthesis, we can think of nature sounds as a combination of sound sources and modulation tools. Noise sources provide the raw textures, like colors on a painter’s palette, while modulation defines the brushstrokes, shaping their movement and expression.

Noise sources (your palette)

Noise sources are a foundational element for natural sounds. Below is a selection of some of the more common sound sources, but really you can use anything:

• White noise: Bright and hissy, ideal for wind and rainfall textures.
• Pink noise: A warmer, more balanced spectrum, great for ocean waves and general ambiance.
• Brown noise: Deep and rumbling, perfect for thunder and low-end textures.
• Resonant filters: Add a bit of pitch to the noise like the whistling of wind
  

Modulation techniques (your brushstrokes)

If noise provides the colors, modulation techniques define the brush shape, stroke pressure and curve of your sound, controlling texture and form:

• LFOs with variable rates: Smooth, sweeping motions that create natural fluctuations, like a gentle breeze.
• Sample-and-hold fed by white noise: Short, sporadic dabs of sound that mimic the randomness of raindrops or rustling leaves.
• Envelope generators with end-of-cycle triggers: Layered strokes that build and decay, perfect for shaping evolving events like waves crashing or distant thunder.
• Lorenz curve chaos LFO modules: Subtly shifting patterns that evolve over time, creating natural variations that are never quite the same but always familiar, like ripples spreading from a stone thrown into a pond.
  

By combining these elements thoughtfully, you can recreate the ebb and flow of natural environments with greater realism and depth.

Nature Sound Patchables

Wind Sounds

Wind is a constantly shifting texture, best recreated using filtered noise and slow modulation. By shaping white noise with a bandpass filter and introducing movement through smooth random CV, you can achieve the ebb and flow of a whistling air. Subtle amplitude modulation adds an organic touch, simulating the dynamic gusts and lulls that occur in real life.

You can achieve pretty effective wind sounds with only noise, bp and random. Though adding a second filter, multiple smooth random sources, and a VCA makes the result much more realistic.

Modules needed: White noise, bandpass filter, lowpass filter, 3 smooth random sources and a VCA.

Rainfall Simulation

Rainfall is a blend of countless small impacts, creating a delicate yet dynamic texture. By filtering white noise and using random triggers, you can mimic the unpredictable rhythms of raindrops. Shaping each droplet with an envelope generator and adding reverb helps create a sense of depth, making the rain feel distant or close depending on the desired atmosphere.

If you just send white noise into a LFO modulated highpass filter you can get a decent approximation of rain. However, if you want it to feel like you need an umbrella try this patch.

Modules needed: White noise, pink noise sample-and-hold, two LFOs with CV rate control (FM), two high-pass filters, mixer, smooth random, VCA and reverb.

Birdsong Emulation

Birdsong can be recreated by combining rhythmic modulation with dynamic pitch movement. A narrow pulse wave passed through a resonant bandpass filter forms the core of the sound, while frequency modulation introduces the natural pitch fluctuations heard in real birds. By using cycling envelopes and random modulation sources, you can add evolving variations that make the chirps feel spontaneous and lifelike.

For more realism, I found myself needing patches with 20 or more modules, which quickly became impractical. I tried at least 10 patches and spent hours trying to simplify this patch. This patch may not be hyper-realistic, but it offers a solid birdsong representation.

Modules needed: VCO, band-pass filter, LFO with rate control, white noise, dual sample-and-hold, two cycling AD envelope generators and a VCA.

Rolling Thunder

Thunder is a deep, rolling sound that builds gradually or cracks then fades into the distance. By using brown noise to create a low, rumbling foundation and shaping it with filtering and slow envelopes, you can capture the natural ebb and flow of a storm. Adding delay and reverb enhances the sense of space, while subtle modulation keeps the sound evolving and unpredictable.

Thunder is even more tough than birdsong. I was able to reduce this down to 8 modules, but if you have a complex random module you can likely accomplish this with fewer modules.

Modules needed: Brown and white noise, LFO, low-pass filter, sample & hold, ADSR, delay, reverb and VCA.

Recommended modules for making nature sounds

If you’re looking to reduce the amount of needed modules here are some that combine several needs into one:

Practical Tips and Insights

• Layer multiple noise sources: Combining white, pink, and brown noise adds depth.
• Use slow modulation: Nature is ever-changing, and slow LFOs help mimic its natural flow.
• Randomize wisely: Controlled randomness creates believable unpredictability.
• Experiment with effects: Reverb and delay can transform a simple patch into an immersive soundscape.
• Think in layers: Nature sounds often consist of multiple overlapping elements.
  

Wrapping up

Recreating nature sounds with modular synthesis is rewarding and helps develop sound design skills. From ambient tranquility to vivid textures, these techniques offer a practical foundation for creative exploration..

Try these patches, experiment with settings, and share your results in the comments, I’d love to hear what you create.