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I love ktn's growls. Skip to 2:42.

I just started experimenting in Reason. I'm producing in Ableton otherwise, but I was interested in Malström, so I gave it a go.
You could get some pretty nasty growls using the Throat waveform combined with the Tibetan Monks detuned 20 cents. Movement at 0 on both waveforms. Modulate the index with sinewave. Route both to the sine shaper inside Malström. Band reject in the filter inside Malström. Assign the modwheel to the index, so you can get even more movement.

Inside Ableton i rewire to Reason. I split into low, mid and high frequencies. Mild saturation on low, saturation + band reject + mild distortion on mid, saturation + band reject on high. Automate the band reject filter on mid + high. Then I use iZotope Ozone with the Harmonic Maximizer and fiddle with that a bit. After that i use Ohmnicide and play with the multiband distortion. After that I use the Vocoder, with reason as both modulator and carrier, automate the formant inside the vocoder.

This method + alot of pitchbending sounds SICK! And I like the organic texture that Malström gives you.
Try it out guys!

mromgwtf wrote:@Eskimo:


Then just move macro 1 and you get talking effect ^_^
Don't forget to add some distortion to fill frequencies cut by the filters.

Cool cool, gonna try that, thanks!
Seems there is more ways to go wobbling than I ever imagined... >_>

^Nice one "Autism"! Think i might give that a go, nice to see someone using maelstrom!

This thread has been edited as per request from several members. Please try and keep it on track moving forward, there will not be a second round of edits.

wub wrote:This thread has been edited as per request from several members. Please try and keep it on track moving forward, there will not be a second round of edits.

Just like to point out this tut from Glyphex on here:



Could be a good basis for creating growls through FX?

Reversed wrote:

RandoRando wrote:not sure if this is a "growl bass", but i made it in fm8 in like 2 minutes, pure fm8 nothing else.
http://soundcloud.com/randorando/fm8-shit

how do people make this kind of sound in fm8? Whenever i try to make something in fm8 it has way too little highs. Can you explain your synth?

i always leave the last operator as a sine wave, or for a heftier sound a parabol.

the "voice" for the growl comes from feeding a triangle wave into the sine.

triangle waves are KEY for formants in FM synthesis

trust, and to distort it feed a high ratio square or sawtooth into the triangle or sine, or even both

then it comes to drawing in some crazy envelopes fm8.

FM8 EASY WOBBLING TIP!

i personally dont like the lfo mod in fm8, so what i do is i make whatever shape the lfo would be on the operator itself, make it a really short envelope so it repeats itself as you hold down the key, now go to the "easy/morph" tab and on the ADSR sliders for envelope play with the decay and youll notice your basically contrilling a makeshift lfo rate!

if someone wants pictures for further explantion let me know.

That is pretty specific to FM8.
I use Rhino which is wired a fair bit differently.
I tried to use basic FM ratios with it and it just got weird.
I tend to treat it as more of a layering synth now by seeing each carrier as a new layer.

Electric_Head wrote:That is pretty specific to FM8.
I use Rhino which is wired a fair bit differently.
I tried to use basic FM ratios with it and it just got weird.
I tend to treat it as more of a layering synth now by seeing each carrier as a new layer.

that would be additive synthesis right?

thats why i love fm synths, capable of different kinds of synthesis.

but i do the same procedure in sytrus to get formant growls?

Nope, it's FM, Additive, Subtractive and you can assign your own waveforms.

I'm certainly not debating the explanation you gave.
I'm just making a comparison between another FM synthesizer.

Rando, can you send me a sytrus patch? I'm having a hard time understanding your instructions.

Fbac wrote:^Nice one "Autism"! Think i might give that a go, nice to see someone using maelstrom!

Thanks man! This is by no means a perfected sound, still working and experimenting on it myself, but anyone who's better on synthesis than me should make this to a really nasty killer growl!

wub wrote:This thread has been edited as per request from several members. Please try and keep it on track moving forward, there will not be a second round of edits.

RandoRando wrote:

Electric_Head wrote:That is pretty specific to FM8.
I use Rhino which is wired a fair bit differently.
I tried to use basic FM ratios with it and it just got weird.
I tend to treat it as more of a layering synth now by seeing each carrier as a new layer.

that would be additive synthesis right?

thats why i love fm synths, capable of different kinds of synthesis.

but i do the same procedure in sytrus to get formant growls?

I've never used FM8 to be honest but plan on it as I've just purchased Komplete.
It might well work the same as Rhino but every FM book or tut I've read has not garnered me the same results as FM8.
Rhino for one does not use ratios, you have to calculate them yourself.
As a result, I have learned the synth differently to std FM.

Great Thread, its great to see people sharing ideas and examples. I just saw this had been uploaded to Youtube, One of the better FM8 Growl tutorials and its by Computer Music.

^ Interesting. Does that digital parameter enable some sort of bitcrusher? It sounds like it does, weird.

RandoRando wrote:if someone wants pictures for further explantion let me know.

PICS PLS!

Seriously though, i seem to misunderstand something, because it still sounds empty when i make an fm8 patch like that. used a ratio 6 saw that fed 25% into the triangle, the triangle feeds back into itself by 27% (makes it more formanty imo) and that triangle feeds 65% into the sine. however, it sounds really empty. Your synth in contrast seems to fill the whole frequency band. Why?

Here's something I cooked up, took me about an hour n a half. Still need some works!

Soundcloud

Reks wrote:Here's something I cooked up, took me about an hour n a half. Still need some works!

Soundcloud

Ooh I like that. Care to explain?

@Autism, had a go, What band reject do you mean tho? do you mean band pass or comb filtering.. Didnt quite like the sound, ended up using.
Ramp down on lfo instead of sine. Then taking it off just using the mod wheel for modulating the index.
Formant Saw i thought was a batter waveform then the Throat. Quite like the Tibeten monk -20 cent tho.

Got some interesting results by having them routed thru Filter A (Env off) into sine (low amount) into Filterb B (Env ON) and playing with the Filter env, atk0 decay 66 for example.

...doh just read the rest of your post on the fx chain.. derp xD thats proberly where your getting alot of the sound aha!

@Reks thats dope

Fbac wrote:@Autism, had a go, What band reject do you mean tho? do you mean band pass or comb filtering.. Didnt quite like the sound, ended up using.
Ramp down on lfo instead of sine. Then taking it off just using the mod wheel for modulating the index.
Formant Saw i thought was a batter waveform then the Throat. Quite like the Tibeten monk -20 cent tho.

Got some interesting results by having them routed thru Filter A (Env off) into sine (low amount) into Filterb B (Env ON) and playing with the Filter env, atk0 decay 66 for example.

...doh just read the rest of your post on the fx chain.. derp xD thats proberly where your getting alot of the sound aha!

@Reks thats dope

Oh, I'm so new to Malström that I don't remember the names on the filters lol. Yeah, I guess the bandpass or something.
The secret with Throat is to isolate a part of that wave that with some slight modwheel/index automation just moves a bit. That whole sample is quite random, but has some sweetspots. I usually find a part with a really clear "Aaaaaaaah"-sound.

Oh, I have not tried using the Filter Env that much. Shall try that when i get home.

Hahahahaha! Yeah, I've been through that also... I think the Harmonic Maximizer and Ohmnicide does alot!

narrator wrote:Ooh I like that. Care to explain?

Using Reason 5's Malestrom.

Osc A is on 'Throat' with no motion so it's static-like. Index is 0, so it starts from the beginning of the sample when modulated.
Osc B is on 'Hammond' with the same settings as Throats just set an octave lower for deep bass.

Threw on some Scream 4 distortion, EQed it a bit, threw some reverb on for some spice and layered it. Then re-sampled the puppy with NN-XT and layered it three times in there to stereo image it a bit and get the sound solid.

Oh yeah, automation is key to this type of sound obviously though. Anybody want a screen cap?