"talking" wobbles

[nftfhx]

So i've spent a fair amount of time trying to come up with the sort of talking synths people like Dayn and occasionally Doctor P use in the more dirty sort of dubstep, but i don't really have that wide of a knowledge and i'm not too sure where to start. I'm using Reason 4, and i'm able to make nice dirty synths but i can't seem to work out what gives these synths that vowel sound to each wobble. Any sort of help would be appreciated, be it just a push in the right direction.
Thanks for reading.
For anyone unsure on what i mean, the drop is at 55 seconds
http://www.youtube.com/watch?v=FKcG5IJn ... re=related

[Basic A]

Waveshape to formatn filter bitcrush to formant filter, all from the same source, reverb n layer those muffuckas...

This is covered every day around here innit?

[nftfhx]

thank you
It probably is but I've only really thought of looking here just now so i thought i'd post and see what i got:)

[Dropkick_Kid]

Thor is the best way to go about getting that sound imo.
As above add scream 4 distortion on it and reverb.
Even better you could split the freq and reverb each different frequency range.
Not sure how to go about this though

[nftfhx]

Thor is what i've found easiest:)
is there a thread already on this laying about because i think i'm going to need to get a lot explained aha

[djake]

formant filters + modulating the pitch with a knob + spliff = fun times

as me and my mate found out today.

[nftfhx]

haha:)
see, i get the formant filter, i can see how that gets the sound but it makes it more of a drone and then i get lost with this bitcrushing bit?

[djake]

you might want to try automating/modulating the filter to get it moving.

[nftfhx]

ooh, i think that may be a bit closer, so would i control what would normally be the LFO rate, with how much i automate the filter?
or have i missed the point?:)

[futures_untold]

Try this.

Make a bass, any bass, then pass it through a low pass filter.

After the lowpass filter, use the Scream 4 distortion device set to Digital.

Modulate the Filter frequency cut off and you'll achieve a 'yoy' type bass.

[Basic A]

haha:)
see, i get the formant filter, i can see how that gets the sound but it makes it more of a drone and then i get lost with this bitcrushing bit?

Use bitcrushers for overdrive... the tanish colored vst one that is kinda a generic google result has three 'modes' too pick from, play with them, then play with the overdrive, then turn your channel volume down to compensate for te massive percieved volume increase that comes from overdriving, then play wtih downsampling for a bit more vocal, and then the key is, make like 6 of those. The idea with vocal bass is that when the average human speaks, it will produce something like 80 different waveforms per vowel to make such a clean sounding speech... you would have to perfectly replicate each of those too get a perfect voice then, and from thier its all natural modulation essentially that we do with our throat and mouth. This is why we have a 'tone of voice' and then 'speech patterns', and those are actually the two classes of speech characteristic the law uses when conducting polygraphs and interogation, and too do voice analysis for matching people to annonymous phonecalls, ect.

Now, to translate that knowledge into bass, you have to get several different waveforms out of your distortions, and do it using the same input signal and output modulation. The presence of these harmonic waveforms, if they are made correctly, will creat ALL those YOYs and YOWs and WAHWAHs n vocal wobble hoo-haa. The idea with using bitcrushers, waveshapers, and formant filters in concert with each other is to produce the variety of UNIQUE and INTERESTING wave layers which must go into your final sound.

So, essentially, everyone I talk too fails here. They send a sine wave or BARE reese / square bass too mixer slot one, stick one bitcrusher on it, n scratch thier heads like lil apes trying to figure out how to get the banana out of the jar without getting thier hand stuck.

You have to send signal to mixer slot 1, and then route mixer slot 1 away form the master channel, so it has input, but no out. Now, you send its signal to several of the slots next to it (I.E. 2,3,4) ... Now, you route all these new slots that are now recieving the original signal away from the master, and send all of them to a single final output track, and cut thier volumes to a level which stabilizes your final output in track 5, have you followed me this far?

Now, using these middle bus tracks, you put a seperate distortion on each one, creating 3 unique waveforms which are meeting back into a final voice, get it?? This is where it is up too you too get entirely creative and abusing, and forge whatever sound you want from the raw steel of the sine wave...

Now LFO the input synth, and lfo the final voice using mixer modulations.

And anyone who told you you need a specific synth is so new and misunderstanding of what sound design is that you should be laughing at them. These are the people who think in VSTs and computer bull, and if you sit em down in fornt of some hardware one day thier gonna shat. Remember kids, its all just some effects on some waveforms. Drums, synths, its waveforms layered. Look at an 808 kick.

RANT OVER>>> QUIT ASKING THIS EVERYDAY>>> NOW YOU KNOW HOW TO DO IT.

[_boring]

i find it more fun to make my own synth sounds by randomly fucking with everything rather than trying to copy something. keep fucking with shit and you will achieve your own original sound.

you might even end up with a few YITES if you're lucky

[Echoi]

i find it more fun to make my own synth sounds by randomly fucking with everything rather than trying to copy something. keep fucking with shit and you will achieve your own original sound.

you might even end up with a few YITES if you're lucky

what are YITES?

[SesG]

haha:)
see, i get the formant filter, i can see how that gets the sound but it makes it more of a drone and then i get lost with this bitcrushing bit?

Use bitcrushers for overdrive... the tanish colored vst one that is kinda a generic google result has three 'modes' too pick from, play with them, then play with the overdrive, then turn your channel volume down to compensate for te massive percieved volume increase that comes from overdriving, then play wtih downsampling for a bit more vocal, and then the key is, make like 6 of those. The idea with vocal bass is that when the average human speaks, it will produce something like 80 different waveforms per vowel to make such a clean sounding speech... you would have to perfectly replicate each of those too get a perfect voice then, and from thier its all natural modulation essentially that we do with our throat and mouth. This is why we have a 'tone of voice' and then 'speech patterns', and those are actually the two classes of speech characteristic the law uses when conducting polygraphs and interogation, and too do voice analysis for matching people to annonymous phonecalls, ect.

Now, to translate that knowledge into bass, you have to get several different waveforms out of your distortions, and do it using the same input signal and output modulation. The presence of these harmonic waveforms, if they are made correctly, will creat ALL those YOYs and YOWs and WAHWAHs n vocal wobble hoo-haa. The idea with using bitcrushers, waveshapers, and formant filters in concert with each other is to produce the variety of UNIQUE and INTERESTING wave layers which must go into your final sound.

So, essentially, everyone I talk too fails here. They send a sine wave or BARE reese / square bass too mixer slot one, stick one bitcrusher on it, n scratch thier heads like lil apes trying to figure out how to get the banana out of the jar without getting thier hand stuck.

You have to send signal to mixer slot 1, and then route mixer slot 1 away form the master channel, so it has input, but no out. Now, you send its signal to several of the slots next to it (I.E. 2,3,4) ... Now, you route all these new slots that are now recieving the original signal away from the master, and send all of them to a single final output track, and cut thier volumes to a level which stabilizes your final output in track 5, have you followed me this far?

Now, using these middle bus tracks, you put a seperate distortion on each one, creating 3 unique waveforms which are meeting back into a final voice, get it?? This is where it is up too you too get entirely creative and abusing, and forge whatever sound you want from the raw steel of the sine wave...

Now LFO the input synth, and lfo the final voice using mixer modulations.

And anyone who told you you need a specific synth is so new and misunderstanding of what sound design is that you should be laughing at them. These are the people who think in VSTs and computer bull, and if you sit em down in fornt of some hardware one day thier gonna shat. Remember kids, its all just some effects on some waveforms. Drums, synths, its waveforms layered. Look at an 808 kick.

RANT OVER>>> QUIT ASKING THIS EVERYDAY>>> NOW YOU KNOW HOW TO DO IT.

Cheers for that, finally a clear explanation of basic principles - production bible?

[Basic A]

haha:)
see, i get the formant filter, i can see how that gets the sound but it makes it more of a drone and then i get lost with this bitcrushing bit?

BASIC A WROTE A HUFE FUCKIN RANT HERE

Cheers for that, finally a clear explanation of basic principles - production bible?

N/P man, I just really couldnt take this question continually being asked... the vocal conept is so easy but no matter how many times we explain it theyll keep coming back and asking... put it in the production bible, bet you still get at least 30 a week.

[Crowd Control]

You have to send signal to mixer slot 1, and then route mixer slot 1 away form the master channel, so it has input, but no out. Now, you send its signal to several of the slots next to it (I.E. 2,3,4) ... Now, you route all these new slots that are now recieving the original signal away from the master, and send all of them to a single final output track, and cut thier volumes to a level which stabilizes your final output in track 5, have you followed me this far?

Now, using these middle bus tracks, you put a seperate distortion on each one, creating 3 unique waveforms which are meeting back into a final voice, get it?? This is where it is up too you too get entirely creative and abusing, and forge whatever sound you want from the raw steel of the sine wave...

brilliant, this has helped tremendously!

[fuzz_2k]

you might even end up with a few YITES if you're lucky

what are YITES?

Yites are the noise in sweetshop at the drop, they sound how they're spelt, i call them yi's

[Echoi]

you might even end up with a few YITES if you're lucky

what are YITES?

Yites are the noise in sweetshop at the drop, they sound how they're spelt, i call them yi's

ahhh, gotcha

[jaydot]

Basic A knows his shiznit. I'll put this into practice some time.

[press]

modulating the res along with the freq on a filter can help add more of that talking vibe.