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Good thread, lots of work gone into this, respect.

Quick skim read revealed this illogical statement:

Daft tnuc wrote:2.turn the resonance slightly above the filter

This means nothing to me. Makes no sense. Maybe it does the trick? Perhaps its good advice in an old wives tale sort of way? But theoretically, no. I reckon if you don't know what you're doing with sub leave the resonance low. Am i wrong?

Now i'm intrigued, what's the theory behind this? Anyone care to explain.

can someone do a step by step version, like for albino3, like what sound, then what effect etc. I feel like a right noob!! not understanding the instructions given.

I got albino, massive, fm8, all of them plug-ins (legal of course), so anyone do a step-by-step guide for one of those be great. Jus so i know how to do it. Thanks

I figure you're talking about making bass sounds.
You will actually find a step-by-step basics tutorial here. Scroll down to Untold's post. It fits any subtractive synth (i.e. albino or massive). You basicly will only use sine, saw, square or triangle waveforms.
This page might be of help too.
Try not to post about this again before you're done reading all that (1, 2, x times). That's for your own good.

some useful stuff on there, thanks

Snare----> Plate Verb or Spring to emphasise metallic sound -----> Compressed to fuckery with long release = Massive, epic, big balls snare.

Adjust the reverb time and release time on the comp to get the timing jamming nicely.

I am maad confused on where to find the LFO in Albino

DownNgoinG wrote:I am maad confused on where to find the LFO in Albino

There are 4 of them. They're in a button in the vertical panel on the right:

L1, L2, L3, etc.



Click the button to select the LFO, then assign it in the matrix (The MX button)

Albino is a bit of a UI mess, really. Relies way too much on tabs.

Little update.
Let me know if I missed anything.

amazing topic, big up

wow, great thread! bookmarked!

great thread guys ill be learning for a while

im totaltly lost atm ive just started making beats using reason or sx3 still playing with both to find me comfort zone

to be honnest some of the stuff i read up there is flying right around my head

ive just been going for it playing by ear ive upped a tune here
http://www.myspace.com/creepzonbeatz
i made this last week not verry gd but i dont have a clue really just making it up as i go some advice would be great or maybe even a starter progect say using only certain vst and a certain kind of rythem would be gd to get a better grip of reason

creepz wrote:great thread guys ill be learning for a while

im totaltly lost atm ive just started making beats using reason or sx3 still playing with both to find me comfort zone

to be honnest some of the stuff i read up there is flying right around my head

ive just been going for it playing by ear ive upped a tune here
http://www.myspace.com/creepzonbeatz
i made this last week not verry gd but i dont have a clue really just making it up as i go some advice would be great or maybe even a starter progect say using only certain vst and a certain kind of rythem would be gd to get a better grip of reason

You better start a new topic for proper help

Nice thread.
Btw if you want to press your shit to vinyl everything that's below 200 Hz has to be mono (seen this somewhere).

awesome thread

Quite possibly the greatest thread I have ever read

Renoise

Without wanting to sound like an advert, you would all be well advised to have a look at Renoise. It seems almost custom made for Dubstep creation.

Sub-Bass

Sorry to disagree with the original poster (especially after the effort you put into this thread. Great work, by the way)... But the Sub should be a pure Sine. Anything different from that is technically midrange. A square wave is just a Limited Sine, and the extra hummy metalic fuzz is definitely higher up the spectrum than the body of the sub.

Definitely not trying to start an argument though!


Kick

Generate your own. Add funk to it with acquired samples.

Rule of Thumb

Bass and Kick peaking at the -6dB. Get them equal.

Any extra level will be added post-Master fader, during the Mastering process (which is not something you can do with a Mastering plugin! Don't be fooled!)

Peace

Technically a square wave isn't a 'limited sine' but actually a super set of the fundamental frequency plus the 3rd harmonic at 1/3rd volume, the 5th harmonic at 1/5th volume, 7th harmonic at 1/7th volume, and so on (theoretically to infinity). If you low-pass filter that square wave as was recommended however you'll knock out most of the harmonics and it won't sound so 'bright'. (you could also take a sine and add distortion which will also add harmonics).

The practical problem I have found with a pure sine wave is that it's too linked to different speaker and room responses. I can make a great sub on my studio system (M-Audio BX8s with no sub) but it sounds totally different on my finessed hi-fi speakers I have on my stereo (I know as I always check). Because we are talking about 40Hz, 50Hz, 60Hz and that's right in the bottom end of good speaker's response curves.

Standard concert tuned A is 440Hz (A4). This means that E0 is just above 20Hz (20.6Hz), E1 is 41.2Hz, E2 82.4Hz etc. If you had a sine-wave bass line from E1 to E2, the problem that you might have, is that different speaker systems will have cut-offs lets say in the 40 to 60Hz range which is right in the middle of your bassline.

Also many speaker cabs, to get this low response, tend to resort to tuned port systems which have the side effect of adding resonant spikes where the system is very sensitive.

So lets say the subs roll off at about 50Hz and they have a resonant frequency of 65Hz. This means your C2 note will jump out of all the others and anything below your G#/Ab will rapidly lose volume. But the next week when you play it on a different system in a different club a completely different set of notes may be lost or emphasised. This is also ignoring room effects because the wavelength of such sub-bass frequencies is down in the metre to half-metre range so the size and shape of the room can drastically affect the tuning.

Anyway if you add a bit of upper harmonics to the sub-sine by using a low-pass filtered square wave in addition to the sine, of course you won't overcome this effect but what will happen is the higher overtones will at least suggest the presence of the lower tones and perceptively to the audience, they will be able to discern the sub-bass part.

Also I believe this effect is what is reponsible for the comment that 'sometimes higher notes sound bassier' it's the speaker system response that's doing this.

victorxray wrote:
Anyway if you add a bit of upper harmonics to the sub-sine by using a low-pass filtered square wave in addition to the sine, of course you won't overcome this effect but what will happen is the higher overtones will at least suggest the presence of the lower tones and perceptively to the audience, they will be able to discern the sub-bass part.

super post this. agree with what you say. adding a touch of square simply adds presence I think.

check this out

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www.producerpack.com wrote:check this out

http://www.producerpack.com/info.asp?ca ... uct_id=125

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