Man i haven’t noticed that much of an difference between modulating with samples through vocodex compared to just modulating with EQ and fucking up with the wavetable and bend and filter stuff inside Serum (for example on this case) with macros:
I am using some random Ellie Goulding Acapella audio which i got at some point (i was thinking of making something like an remix out of it but haven’t gotten into it, at least not yet) and it can be noticed, the difference in sound modulation, but still not that greatly. I guess it depends so much on the settings of vocodex and the frequencies that are being modulated from the audio sample and also of course on the sound design. I love Serum on growls though, Massive is great on some stuff but Serum man…
So I was messing around with a new bass I made (don’t mind the absolutely horrendous pre-drop, just needed something as a placeholder). https://clyp.it/y0nddoc4
Basically the same bass I posted earlier but with more added distortion on top of the vocodex to make the bass crisper as well as a few extra EQs. Also a lot of pitch bending xD
I have a question for the forum. I recently saw a picture by OmegaMode that showcased his FX chain on a bass that he made. I, myself, have never used Phasers on any of my basses, mainly because I don’t know how it works.
Can anyone give me a rundown on how to implement a phaser into my FX chain and tell me what its significance is?
Sorry for the double post here but I wanted to share this bass with you guys.
Tried to recreate OmegaMode’s growl. It’s getting somewhat close, but I still can’t seem to keep the vowel in my bass prominent enough. Plus the bass is a little bit too smooth. The only thing I got right was the Predator sound that he adds to the end of his basses sometimes.
Doesn’t sound too good when going up higher in pitch. Needs some more vocal movement but idk how you’d do that without making it sound cheese. It’s interesting but just needs some work.
I made this tune using FM8 for the main bass. FM synthesis in a nut shell consists of oscillators running into each other to create harmonics. Most squelching basses you hear are made this way…
The reason is to basically add a shit load of band rejects with some peaks in the spectrum of the sound. Sort like the ones that would be in a human voice if it where deep ya know. Try to imagine the sound resonating in your mouth, this would pretty much be like placing the root sound deeper
To make it simple, add it after you have done some distorting and then bit of compression after, then add a moving one so you can get complementary vowels, after that do your eq vowel stuff n things, the eq will be ya know , like the vowels you make with your tung and lips n shizz
