my guess? ONE synth, two oscellators modulated and low passed for the sub, and the vocal stab. If you did that shit all with the vocal "hey" sample then you're a beast!

Its the same type of hate that anything that people use gets around here. Its not a bad product, it just has a sound that people recognize. And we all know that unless you're using a filter that you've made yourself from old coffee grounds and a roll of duct tape recorded in a sound proof room runn...

Its a good idea to keep your sub separate unless you want it to play the exact same notes as your midrange and share all the effects! I always keep my sub separate and clean.

rayman612 wrote:pay someone else to do it

or buy serato

or have it sound like shit

This is some shitty advice. Why would you waste your time?

Also, i"m aware of the lame tail that you hear at the end of the bar. This song was made in one day, haha!

It can be a subtle effect. I used the preset on my sig track.
at :30
Yeah, it's lazy. but it keeps the workflow going without having to spend time on the automation and such. Make sense?

I just wrote a song in the key of C. I want to write one now in the key of F. Do I need a new computer for this?

Brothulhu wrote:That's how I had it but the automation didn't affect it somehow

Did you have it as an insert on a channel or as an instrument?

I load it as an insert. The samples have to be .wav though! You were probably trying to use an mp3?

Yeah, the idea is to have all the notes bend in that ONE instance of massive. So I can use other instances to write melody parts, but when I want the notes to bend, i just switch over to that one! I could use a pitch wheel, but what I was looking for was a way to have it done automatically instead o...

Dude! That totally works! The bend is a little slow, but no worries. I'm about to try to figure out how you got it, but CHEERS mate!

Yeah, thought of that, but it requires writing out the bend for every note! I'm not lazy, I'd do it that way, but just wondering if there's a simpler way to create it as a patch.. Like, think of live playing/recording. The key goes oo-whip! when hit or ooooooooooooooo-whip! when held.

Heyo! I'm wondering if anyone knows of a good simple way to apply a pitch bend at the end of a triggered note. In other words, the note would be sustained as long as its held, but once released triggers a pitch bend upwards. I imagine it's done with an envelope on the pitch, but how? Been trying to ...

YouTube + EQs

I don't understand the OP. Fruity scratcher is easily automatable from inside the GUI. You just draw out the scratch pattern! Easy Not sure about the cross fader though, I just use it for simple scratches and ape stop effects.

I prefer bass fishing.

I never compress digital sounds. Ever. Good samples, correct levels and EQ's forever. Compression is to fix human mistakes or for artistic effect.

I think when a fundamental pitch is played with it's third or fifth, the subharmonic tone it creates is an octave below the fundamental. An octave below 20khz is still pretty high! Also its weaker than a pure tone. I think too that since it's about harmonics, maybe a more harmonically rich wave like...

@futures. Thanks man! Great advice as always! The pogo effect the way you describe it gives me an idea for hats! Sunday project. Cheers!

I understand this is a noob question, but how do you assign a paramiter of an lfo to another lfo? I can understand automating it, but how can you chain lfo's? With a stand alone lfo vst?

Nevermind, albino has two assignable lfo's. I'm an idiot..

I'm in!!