sounds like a heavily portamentoed saw patch witht hat abelton ott compressor thing on
I want to sound like Barely Alive. Any advice?
come close to death
Bandpass filters on everything.
For practice, I would like to recreate some dubstep drops. I am ok with growls and reese but I am not very confident with high pitch and screech sounds. For a good start, I would like to recreate the high pitch synth used by Alpha Noize in Taro - Flashpoint Remix. I would like to use Massive. Any idea to make the exact same one ?
baitness time. I wanna know how so badly how to get the main bass in fuck mountain
and i’ve tried for ages to get something similar to 2nd drop crystal collect. I know its like a lazy moving slightly detuned reese with some metallicness to it, but everything i end up with sounds pretty shit. (2.44)
Anyone got any pointers? sorry for bait questions.
How do you mean? If it’s messy, maybe you’re detuning too much. As a rule, I try not to go over 25 ‘whatevers’(you know, the one that’s for fine pitch changing on an oscillator, within 1 semitone[?]) on any of the oscillators, then again I’ve got a buddy who never goes lower than 50 and his reese b-lines always blow me away.
Something else he does is add a stereo delay to it to thicken things up. If layer some and set the times really short you can get some interesting textures out of the sound. Probably some bonus points in there if you fuck about with the filter modulation in the delay.
Maybe if it sounds too sharp you wanna try more LP filtering, or even different kinds of filters in series and/or parallel if you just want to explore the sound itself more and see where you can take it. I’ve always been too lazy to get into parallel processing, but that also brings about some surprising textures once you get the hang of it.
With regards to fuck mountain, I’m a bit of a muppet, but I’d go for getting samples of brass instruments and layer the c notes at different octaves and fuck about with that, maybe then get a synth out to fiddle with grittiness. Maybe sample like a really short clip out of the layer and you’ve got something workable. I’m not sure tbh, but you can kinda hear on the higher notes, what I think sounds like, how there’s more oscillations per note length and it sounds like a really short snippet (longer than a single oscillation but short enough that you don’t get any proper dynamics out of the audio).
There’s a good book about physical modelling synthesis by Andy Farnell: “Designing Sound”. It comes with example patches for Pure Data.
Hey man. I know that Commodo works with a lot of samples - AFAIK, The sound sources for a lot of his tunes are little chops of audio from random records. In the case of that first one, it could literally be anything buzzy/midrangey with distortion, with a filter envelope/modulation and also layered with like a saturated sub/tr-8 sound.
As with most wicked basslines in tune like this its not just the patch, its the movement/modulation/space/notes. you gotta remember the ‘sound’ is only gonna get you halfway there.
Try experimenting with ‘granular synthesis’ and sampling little chops of brass/horns in old records, and distorting/modulating those. For me its a much cooler/organic way of generating tones. Anyway hope this was useful for you g, then again can probably see how bare people are gonna think this is wrong and i’m chatting shit
Cheers for the tips mate, keep on getting closer/making my own thing out of it daily, gotten a fair bit out of using really short stereo delays for a more metallic twang. Any recommendations for a decent granular plugin??
Super short beat delays got me more of the twang for sure, and i’ve found that LP filtering with subtle saturation/distortion after gets it closer.
What exactly do you mean by running different kinds of filters in “parallel”??
Cheers for the pointers mate, gotten me alot closer.
Route the synths with the unmodulated bass patch to several tracks on the mixer,
bus all of those tracks to another single track,
apply different filters to each track,
So basically like a parallel circuit, where components run independently of anything other than the source, instead of a series circuit, where each component runs into the another
How can i make a sound like the one in Doctor P big boss drop?
This kinda hollow, buzzing tone 808(?) at 1:46
I wanna get this one so bad haha, any help appreciated
sounds like a LP filtered bell kind of sound layered with a lower 808 kick type sound
the doo thing?
i think its a woodblock preset or regular perc sound off a 808
I’ve got an 808 sample pack and granted it doesn’t have every sound that an 808 can make, prolly not even close, but there’s nothing even a little bit like that “Dooo” kick in there, so I’m guessing at least heavy processing is involved.
I’ve tried layering 808 toms over a kick, didn’t really work. Tried saturating the high end of the kick, also didn’t quite work but there’s a lotta ways to go about that, so I could keep trying I guess.
A basic question I guess would be: Should I try to get at this sound with synthesis or fucking with 808 kicks? In my experience syntesizing a PROPER 808ey 808 kick/sub is harder than it seems, definitely not just basic sinewave pitching downwards stuff.
Also anyone got that perc in Clipse - Grindin that’s been rinsed to fuck, also in loads of fuccboi grime soundcloud tunes haha, you know which one I mean.
it might be a 909 or sumf
but definitely not processed a whole lot and yeah synthesis imo doesnt bring the right sound - it has to be done inside some hardware sampler or the drum machine itself to have the right ‘weight’
just go thru more packs
(maybe ask for the sample on youtube !)
The sound in that clip is a pitched up 808 kick with a bell kind of sound layered over it (you know, a bell ). The bell sounds like it is running through a Low Pass Filter to filter out the higher frequencies.
Been really into that sorta cold, steady mid sound to go along with the sub, like Alias - Southside riddim too