Looking at the original sound, we can learn a few things: The synth is monophonic, with a slight echo. It seems to employ a saw wave, heavily filtered to imbue it with that organic texture. Moreover, some notes appear to glide into each other, emulating the fluid transitions typical in vocal performances.

Now that we understand the basics of the sound’s design, let’s recreate the melody as closely as possible to the original.

I’ll use a piano for this task.

Next, I’ll use one of my synths to try and match the original sound as closely as possible. Zebra from u-He offers a range of excellent filtering options and a solid legato system. It should be fit for the job, although results might not be exactly like the original since different synths can produce different sounds.

The aim isn’t to make an exact copy. We’re here to understand how to create this type of sound; so we can make many variations of this recipe.

I ended up using a variety of filters with different levels of resonance, with a cutoff that follows an envelope. Thanks to how Zebra handles things, the filter does not reset when playing in legato.

A simple mono saw wave with a single voice works for the oscillator (OSC). The low-pass (LP) filters will handle the rest.

The important aspects are the glide and the motion of the filter. The unique thing about Megata’s synth is that it’s not constantly in glide/legato. It’s humanized to a certain degree, adding some variation.

And there we have it. It’s not perfect but it’s quite close.

Synced together with the original.

Here is a quick variation, using more voices and distortion.

And an original version I did for one of my tracks with 4 different variations of that gliding synth.