fellas one dance music sound design thing I’ve never really got down is the kind of warping resampled mentasm hoovers
so like I get how to make a basic hoover, I even have ReDominator which is an Alpha Juno remake vst, but I don’t mean just programming a basic hoover sound on a synth
I’m talking about the way it gets resampled and used in tracks like this (comes in about 1:30):
not my favourite example lmao but the first one I could think of that has what I’m talking about, but there’s versions of this in a TON of tracks by all sorts of artists. the pitched up warbly hoovers that almost sound like they’re laughing or something, pretty sure it’s just based on a basic hoover patch but ends up sounding pretty complex
my first instinct is that its probably a regular hoover patch w/ pitch envelope played back in some kinda pattern, then that’s resampled + delay, reverb & filtering?? but I’ve never really recreated it from scratch.
just wondering if anyone has any tips or techniques for this or has ever seen a good tutorial on it or something. anything I’ve found for “hoover tutorials” is just programing a basic hoover sweep etc. maybe just need to really sit down for a night and experiment till I get it right
this tune is so fucking shit that i’m not gonna listen to all the valid points you’re trying to make.
ok i did and it just sound like a slightly pitch bent reversed hoover
but god damn, i don’t know how this got so popular, it’s just so fucking shit, like it’s not even funnt, like mr happy is meme material but it’s a pretty sharp jump up tune at least. this sounds like a dead fish beaten to second death with massive presets
nawwh its just like you know when you happen to remember what a particular track is called even tho you havent made any effort to remember it… its not really my thing although I do like some jump up but yeah this era was not a great point for it
was just marvelling the other day at how some of DJ Hazard’s older tracks are genuinely some of the worst dnb I could imagine ever existing (Ready 4 This is a prime example) and yet he’s also got some fucking great tracks in later years (Proteus, Never The Same, Time Tripping…)
anyways yeah I think you’re right that reversing the resampled bits is prob gonna be a pretty key bit of it too… gonna have to just try and reverse engineer this some time. if anyone can think of better examples please share lmao I know theres loads of tunes with this type of thing in it
Haha am the opposite.
Peak plastic jump up is sick party music. Allow it grandad. That distorted open hat all the way thru is niiiice. Can’t be truhed all the time.
Also this tune is good for scratching over.
Perhaps you should try to sit back from your tunes for awhile and let them settle. I know it is always exciting when you finish a new tune so this is hard.
Listen to them again a few weeks, months or even years (I sometimes do this lol) when you are not tied up with the feeling of creating it and you can listen to it objectively and just hear it as music and not that you created it.
with reeses and hoovers its always fun to automate some sort of width vst or just haas to accentuate certain notes or the end of a phrase etc, after you’ve done all your chopping
Man, I feel dense lol. Just thought of programming the paradiddles I’ve gotten as “homework” in Reason to make it easier to visualise where the hits land. So much easier lol!
Edit
After some time with the practice pad, I can just say… damn. This is hard af.
Chatter by Gridlok is an insanely nice track, came up on an old neurofunk playlist I made, felt like hearing it for the first time, was very surprised it wasnt an Optical tune when I looked at the title, both stylistically and production level
