How to sound like ? thread

topmo3 · July 29, 2015, 7:11am

also different synths sound different when for example I try to make a big ass square on operator it sounds a bit dry but for example on gladiator I can make it sound fucking immense and thick

Johoosh · July 29, 2015, 9:53am

I reckon there’s some EQ automation/sidechain to bring out those crispy tops too

RKM · July 29, 2015, 11:11am

uh

what is a pulse wave?

thanks though

topmo3 · July 29, 2015, 11:47am

man its just a gay term for square doe

topmo3 · July 29, 2015, 11:48am

ny1 wanna crack the case on that chainsaw bass I posted a while ago in this thread

hubb · July 29, 2015, 3:08pm

link it again g

but props saw wave innit (shoot me )

topmo3 · July 29, 2015, 4:13pm

aight son

this is literally waht I said earlier

“chainsaw bass”

I just wanna make this bass so bad I been thinking about it for as long as I’ve produced

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hubb · July 29, 2015, 4:27pm

ah.

can see how it would be difficult because the energy or drive of the sound is sort of percieved more than felt. Like where does the ‘weight’ sit in that sound.
‘Un- anchored’ if you can even say that…
I think it might be real context/mix dependant, but there’s some yoi to it. Definitely a comb filter somewhere too. I reckon part of the sound is a really clean sub and then a lot of the lowmids (not mids) are scooped out (I think). I think the sub is a sine and i think there’s probably the same envelope on both sub and whatever the other part is, which makes it more seemless than just the regular ‘lets fit a sub under this midrange i have going’ type of basses. It’s probably two synths set up to do almost the same thing, but where like the upper layer is mimicking what the sub does just with a different ‘carrier’ sound or maybe just another waveform two octs above or something. Could be massive vst.

Urban_Ethics · July 30, 2015, 2:57pm

How does one go about making a midrange bassline like this?

RKM · July 30, 2015, 3:17pm

i always assumed it was like some horn sample layered and compressed…

Okamiiam · September 3, 2015, 6:08am

does anyone know how to approach the lead sound at about 0:53 in the drop and throughout? would like to do a similar sound for a new song i’m working on.

Johoosh · September 3, 2015, 11:07am

Yeah with Mere Sher i’d guess a brass sample/VST maybe layered with a basic detuned saw or two.

baddyman_roadboy · September 4, 2015, 12:08am

sounds pretty FM to me with the higher harmonic but i seen flava d using albino for bass on FACT against the clock

hubb · September 8, 2015, 1:58pm

any good riser ideas or tips are welcome

i kind of overdo them and should make it more subtle…
what do you guys reckon people make risers out of in general?

Triston_Snell · September 10, 2015, 10:53am

I use a white noise patch im massive with a sub sin wave layered underneath, with a lower intensity and amp. One oscillator, higher white noise, then I’ll automate the volume of it to fall down. I’ll then make a separate patch that’s one or two oscillators of a square wave and pitch it up, and also add a tad bit of white noise with that patch. I’ll also automate the volume of this patch as well. You can mess with the lfo of the second patch and link it to the waveform of the first oscillator. I’ll upload pictures for you later if that doesn’t make sense ;p

hubb · September 18, 2015, 6:32pm

nah its fine m8 cheers , i can see where you are comming from here.

Triston_Snell · September 27, 2015, 1:03am

Could someone please assist me in breaking down this drop? It’s beautiful.

I can definitely tell it has some string instrument, but the moving bass beneath the saw wave is what’s troubling me, which bring me upon the next question; how in the world does he get his saws to sound so full, but seem distant at the same time?

Simon_Mitchell · November 16, 2015, 8:12pm

That’s the same noise that I found once in an old computer game sound pack. It’s just a sound he’s found and then put through a sampler. He didn’t synthesise that noise.

Volt_Punk · November 16, 2015, 9:38pm

I am not sure how he does them but what I would do with these comping saws is set the patch up with a hefty unison stereo spread and then drop the mid eq out a bit to leave mostly side signal. In the mix, that will leave room for the main bass sound to sit in the middle and be out front. Dimension effects will also enhance this…if you give the saws some delay and reverb and keep the main bass dryer, it will give you that stereo separation where the saws sound farther back in the “room” and the main bass will seem more up close.

oh yeah…less compression will make things seem lighter and behind components in the mix as well.

hubb · November 17, 2015, 11:43am

this is going to sound shit

but theres a preset on fabfilter volcano 2 that does exactly this

in the fx section, called ‘far away’

if you have that you an try to ‘reverse engineer’ what it does …

(just a thought - i use that preset a lot )