well, they probably don't have to worry about it considering it's probably better for them to leave it a plain sine, and let the mastering engineer decide exactly how to process it.

you don't need to seperate the harmonics that saturation adds to another channel. and why would you ever add reverb or stereo effects to a sub? even if it is on the harmonics... keep it mono. basically, all i'm saying. every pro in the world does it this way: plain sine, saturated ~4dB, low passed w...

dude, you don't know what you're talking about. proof that harmonics are added to any fucking sub in the world: take ANY track (pop, edm, rap) with a deep sub that goes down to ~50hz according to a specrum. now, play that song on speakers that only register to 80hz (pretty much any standard 4-6"...

every mastering engineer with saturate the sub a bit, so really, saying it will lose power next to others because of this is wrong. yes, your track will never sound as powerful as those mastered professionally, that's a given.

anyways, ~4 db saturating, 12db/oct low pass... Usually around 100hz.

plain sine. 3-5 db saturation, high-pass to taste. if you want to change it up add some pitch bends/glides/env's. pretty much all there is to it. mimicking refers to having your sub bass play the same melody as your mids. and you can gate it if you want, but volume automations/envelopes always soun...

Hey all, Been having a weird problem lately. Here's what happens... I'll preview a sample (in this case some typical Vengeance up sweep [actually this problem is almost exclusive to riser clips]) by clicking it in the browser. The preview sounds just dandy. I'll drop the sample into its rightful sp...

who would want to correspond with these tnucs.

Using Massive for just a sine generator seems a bit wanton. I generally don't apply any effects to my sub, so no automation. Mimicking I mean it plays the same pattern just down an octave or two. Not sure what you mean re every track...I'll only ever have one sub line. you don't automate the volume...

plain sine. 3-5 db saturation, high-pass to taste. if you want to change it up add some pitch bends/glides/env's. pretty much all there is to it. mimicking refers to having your sub bass play the same melody as your mids. and you can gate it if you want, but volume automations/envelopes always sound...

hell yeah alpha, i missed him posting those. love those clicks in the second one.

if people are down for it then i'd make a track with these samples.

weak samples.. bounce out that snare you have made as one sample. then, you need a snappy-as-shit clap, and a snappy white noise snare hit, and a very punchy snare. get a few different ones of each. now, once you have ~8-10 samples, start layering ~4 at a time, experiment until you find 4 that sound...

every edm producers alias in the world: a pun, slang/internet words, or some word with all the r's replaced with 'ah.'

bass + asinine = bassinine = an asinine amount of bass.

with incredible speed? i don't think you understand how the attack, release, and threshold work on a compressor. i would reallllly learn what this stuff does before you even bother to go any further. http://www.soundonsound.com/sos/1997_articles/apr97/compressors.html [this will teach you enough to ...

you don't need any particular synth - get one good one and learn how to work it, and then you can make any sound with any synth.

low pass mutha fucka, do you use it?

but seriously, low pass that shit, then have it open and close depending on how much white noise you want to come through. white noise is great on top of things, but only if it's not ALL the time.

mromgwtf wrote:Wow filter sucks, forget about it. It's so much better to use normal EQ

uh, no.

using eq well is important... but wow is bad ass. it's 12dB lowpass is fucking smooth.

one of the astronauts on the ISS is a reddit user who posts his music pretty often, he just did this by request.

nothing too special, other than being the only (i think?) recording of noise in the ISS ever.

https://soundcloud.com/colchrishadfield ... tion-noise

skwiggo wrote:since live 8, operator has had additive synthesis. you can edit the waveform by adding and subtracting partials.

so, you're saying, if you're only using one wave - and not utilizing frequency modulation, it's not FM? that's profound, and by that, i mean obvious.

he's talking about changing a samples pitch by a few semitones - without affecting the overall length of the sample. it's plenty possible - can even do it in abletons audio clip settings without a synth I think.