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mromgwtf wrote:

Patchwirk wrote:le massive

Patchwirk wrote:lee Crude oscillator

Patchwirk wrote:le wave table position

Patchwirk wrote:le intensity

LE LOL XDDDDDDD UR SO FUNNEH LE LE XDDDDDDDDDDDDDDDDDDDD

>>>9gag

mromgwtf wrote:
LE LOL XDDDDDDD UR SO FUNNEH LE LE XDDDDDDDDDDDDDDDDDDDD

>>>/reddit/

I knew you'd feel something regarding my use of "le". But back to the topic.

Patchwirk wrote:

mromgwtf wrote:
LE LOL XDDDDDDD UR SO FUNNEH LE LE XDDDDDDDDDDDDDDDDDDDD

>>>/reddit/

I knew you'd feel something regarding my use of "le". But back to the topic.

It makes you sound like a bellend.

mromgwtf wrote:

mthrfnk wrote:

Add9 wrote:To be honest I don't know why everyone loves Modern Talking so much. In my opinion Carbon kicks the crap out of all the other wavetables in Massive. I wish we could make our own wavetables though, that would be sick

There are other synths that allow custom waveforms

But no other synth has such a fine set of precious filters and great effects.

Really...? Massives filters and FX aren't that amazing nor are they unique.

No one posted a growl in a long time.... so its my time to shine! First attempt at doing a vocal sorta growl. It is exactly a skrillex first of the year remake. The only thing i copyed was the vocal acapella and a very informative video on vocoding Exuse the terrible sub and mixing.

I just slapped it together being my only time on my laptop before the rest of the night. The automation is a first and im getting it to sound more organic in abletons draw feature.

Lastly, even though its not a growl check my glados (Portal A.I) remake in my soundcloud for an up coming song. Appreciate it

Soundcloud

Hey guys, just messed around with some stuff i knew. These are a few growls i know how to do in different ways.
The last long one, although, was more of a helicopter showdown attempt, since it has that high pitch grind to it.
But the other ones are just various ways to obtain vocal sounds. These are long and complicated processes and i still am in almost no control of what these basses even do. But if you take an interest in the sound i'll explain how i obtained it.

I've wasted 2 years of my life trying to figure this out. I finally can produce growls, but i can't use them in songs yet. I'm hopeless.

Soundcloud

WolfCryOfficial wrote:Hey guys, just messed around with some stuff i knew. These are a few growls i know how to do in different ways.
The last long one, although, was more of a helicopter showdown attempt, since it has that high pitch grind to it.
But the other ones are just various ways to obtain vocal sounds. These are long and complicated processes and i still am in almost no control of what these basses even do. But if you take an interest in the sound i'll explain how i obtained it.

I've wasted 2 years of my life trying to figure this out. I finally can produce growls, but i can't use them in songs yet. I'm hopeless.

Soundcloud

How did you get that second bass? Sounds cool.

Patchwirk wrote:
How did you get that second bass? Sounds cool.

Its a series of FM oscillation going on in multiple bands, through vocoder processing.
I have the FM running through a harmonizer to give it extra beef, and a vocoder processing certain bands inside the sound to give it the growl sound.

And for vocoding (Obviously you need a carrier and modulator) and for my modulator, i have the sample resampled into harmor, and used as an input into my vocoder. The harmor has various effects and distortion, but mostly the distortion going through harmor is that of which you would hear in a "neuro bass"

The sample itself isn't playing, i have the speed on 0 and im manually moving the lining position in my sample, giving me control of how accentuated the vowel sound is, and control over the placement of it.

On top of that i have a unison on in my vocoder set to five, and i have stereo panning going from stereo to multi stereo, but again, only in certain mid range frequencies, the low and high sounds are mono (listen inside headphones, its easier to understand)
I also have a unison set in harmor, giving it an extra phase in the entirety of the sound.

I have ring modulators going on in my FM, and the sound itself isn't pitched down in any way, if you listen to it, it sounds like its pitched down, whereas its simple the ring mod making itself present as i adjust it.

A lot of params are being adjusted as well.
If you want to know the adjusted params and how i modulated them, i can go deeper into that as well.

WolfCryOfficial wrote:RABBLERABBLERABBLERABBLE

Is it possible in Massive?

Patchwirk wrote:
Is it possible in Massive?

You mean is this sound entirely possible in massive?
Or is it possible to replace the FM synthesis, with massive?

WolfCryOfficial wrote: You mean is this sound entirely possible in massive?
Or is it possible to replace the FM synthesis, with massive?

The latter, since no one uses FM8 anymore.

Just joking, the sound itself.

Patchwirk wrote:
The latter, since no one uses FM8 anymore.

Just joking, the sound itself.

The sound itself? Absolutely not.

As an FM placeholder, yes, but very difficultly.
Also, FM8, Sytrus, Toxic Biohazard, and Thor are all very common and widely used synths.
FM Can be done in many ways, and it allows more control over what you want.

WolfCryOfficial wrote: Also, FM8, Sytrus, Toxic Biohazard, and Thor are all very common and widely used synths.

Funtcase doesn't use Thor though. Why should I listen to you?

Also, could one get close in Massive?

mthrfnk wrote:

mromgwtf wrote:

mthrfnk wrote:

Add9 wrote:To be honest I don't know why everyone loves Modern Talking so much. In my opinion Carbon kicks the crap out of all the other wavetables in Massive. I wish we could make our own wavetables though, that would be sick

There are other synths that allow custom waveforms

But no other synth has such a fine set of precious filters and great effects.

Really...? Massives filters and FX aren't that amazing nor are they unique.

They are unique in a few ways, one is the resonance, it sounds so clear, it never clips, the second one is the scream filter, third one is double notch, fourth one is band reject filter. I've never seen any better band reject vst filter than the one in the Massive. If you turn up the resonance on other filters it sounds like they just add a sinewave at the cutoff.

Patchwirk wrote:
Funtcase doesn't use Thor though. Why should I listen to you?

Also, could one get close in Massive?

I never said you had to listen to me. I'm trying to teach you what is effective and how I went about doing this...
And honestly, don't rely on one producer to decide what works best for you.

There are hundreds of ways to make FM. And find what works best for you. Don't let me, or even funtcase tell you differently.

Massive would be very complicated to obtain the same sound in.
If you're looking for a growl like this, it's absolutely impossible. It's too elemental.

You can get more basic growl type sounds and you could also just replace the FM synth with a very basic Reese pattern but it would be hard to control.

Just assuming here, but it doesn't seem like you know much about processing audio.
If you (or anyone else) would like me to explain WHY massive can't obtain this sound, I will gladly do it.

mromgwtf wrote:

mthrfnk wrote:

mromgwtf wrote:

mthrfnk wrote:

Add9 wrote:To be honest I don't know why everyone loves Modern Talking so much. In my opinion Carbon kicks the crap out of all the other wavetables in Massive. I wish we could make our own wavetables though, that would be sick

There are other synths that allow custom waveforms

But no other synth has such a fine set of precious filters and great effects.

Really...? Massives filters and FX aren't that amazing nor are they unique.

They are unique in a few ways, one is the resonance, it sounds so clear, it never clips, the second one is the scream filter, third one is double notch, fourth one is band reject filter. I've never seen any better band reject vst filter than the one in the Massive. If you turn up the resonance on other filters it sounds like they just add a sinewave at the cutoff.

I agree that massive isn't really unique at all.
Massive is a wonderful plugin, it has amazing capability and amazing results. But considering the fact that massive was brought up on this specific thread, you'll be disappointed to find that massive cannot provide what we here in this forum are after, at least to a very capable level.

Massive can do some crazy things, and every day im surprised by it. But it doesn't allow ANY control over your sound.
If i make a sound in massive, odds are that that sound will sound the same every time i trigger it. If i have a wobble, its a continuous wobwobwobwob, with no X, Y, or Z, factors allowing me to physically change the sound in many different ways.

You may argue this point, because of Massive's macro controls?
Let me explain myself: Massive has a limited amount of wave tables. Most, if not all, of these wave tables include other types of sound design inside of them. FM synthesis, Additive and subtractive resynthesis, formant synthesis, and sample and hold/vox synthesis.

The fact that if you turn a massive knob, it cycles through vowels (i.e. modern talking) is extremely limited. Where as, i can pull up FM8 and did you know the wave table Modern Talking, is indeed, FM synthesis? And can be replicated in a mere couple seconds with an FM engine. I can make my own modern talking with MUCH more control in an FM plugin, with infinite possibilities. I don't have a "knob" that limits the sound, i can go 0% to 100% with my sound, not only certain ranges.

And THIS is where Massive fails. Because of its limited functionality.

As for FX. They aren't great at all, in fact i read an article on massive, and did you know the effect engines in massive were actually taken from other Native Instrument effect plugins and copy and pasted inside massive to give the desired effect? You can access much more, outside of massive, and have much more control over your sound.

The filters? Well yes, they're good. But why would you want a comb filter with 3 knobs and thats all? Why not get an external filter.
Fabfilter makes some awesome filter plugins, i have a comb filter with 7 knobs. Thats WAYYYY more control and i can make my sound wayyyy better than massive limits me to.

I doubt many famous producers make 4 presets in massive that go:
1. Yoi
2. Yea
3. Yua
4. Yuy
And then add a drum beat and start mashing 123413241341431341324.
No. They require careful modulation. Look at KillTheNoise. Have you heard his modulation? He uses reason. I saw a video of him making a synth once. He had SEVEN Thor patches open, and they were playing on top of each other. And it had 15 modulation enveleopes. That means 15 knobs were being adjusted....

In all honesty, massive is amazing, and it makes up most of my tracks.
But it has a limit, and the limit, sadly, is under what we in this forum are trying to accomplish, in a manner.
Although it can still produce that hefty GRRRR sound, can you really get that GRRRR sound to go GGGRRRYOIYOIYEAHEHEHEOGIGRRGGHOEHAUAUAUAUAUA? by simply pressing ONE KEY?
Imagine skrillex making a patch in massive for scary monsters and nice sprites that recited the entire bassline. Its impossible. Massive does NOT have enough open control to provide that.

I honestly suggest, if you or anybody else, hopes to produce monster growls using Massive, well then you should quit trying and quit producing.
Because it takes a lot of narrowed focus and articulation and particular adjusting of hundreds of different things to create something so diverse and so complicated.

While I agree with the above that massive doesn't have as many modulation options as fm8, I will not agree that massive is as limited as you are making it sound. That synth has endless capabilities, as do all synths really.

PillowFight wrote:While I agree with the above that massive doesn't have as many modulation options as fm8, I will not agree that massive is as limited as you are making it sound. That synth has endless capabilities, as do all synths really.

I don't mean to make it sound like a noob synth.
And it of course has infinite production capabilities. Countless.

I have a song out that used only massive. All massive channels.

Its just that this synth simply was not designed to achieve something like this.
Growls take too much close attentive work. Mid range freqs have different distortion than high and low. Massive can't offer that.
Custom wave tables either. Sytrus FM synth offers custom wave table creation, and makes the level of control much higher.

I cannot agree that anybody after a brutal sound heard in many popular songs, can achieve the desired effect in massive, without having to have 100 different patches that "chain" together to make a solid modulated bassline. It simply cannot be done.

WolfCryOfficial wrote:

PillowFight wrote:While I agree with the above that massive doesn't have as many modulation options as fm8, I will not agree that massive is as limited as you are making it sound. That synth has endless capabilities, as do all synths really.

I don't mean to make it sound like a noob synth.
And it of course has infinite production capabilities. Countless.

I have a song out that used only massive. All massive channels.

Its just that this synth simply was not designed to achieve something like this.
Growls take too much close attentive work. Mid range freqs have different distortion than high and low. Massive can't offer that.
Custom wave tables either. Sytrus FM synth offers custom wave table creation, and makes the level of control much higher.

I cannot agree that anybody after a brutal sound heard in many popular songs, can achieve the desired effect in massive, without having to have 100 different patches that "chain" together to make a solid modulated bassline. It simply cannot be done.

Interesting that you say that, yet reference Kill the Noise, whom by the way uses Ableton NOT reason and uses massive for 90% of his growls, most of which are modern talking based.

PillowFight wrote:
Interesting that you say that, yet reference Kill the Noise, whom by the way uses Ableton NOT reason and uses massive for 90% of his growls, most of which are modern talking based.

Kill the Noise, may have or may use Ableton to arrange his tracks, but in countless videos he has stated himself that he uses reason to create his bass,
and if anywhere you see him using massive, or he said he has, do you really think its just a massive patch? Really?

I can link you to the video where Skrillex said he uses "Operator" the stock plugin that comes with Ableton to make his growl bass.

As someone who doesn't know anything about music, this would be utterly unbelievable. But as someone knowing the resampling process and freq split modulation, vocoding, resynthesis, etc etc, it is very possible, and very likely.

I don't know where it is, but i'll upload a video of me creating a moster growl bass out of the default massive patch, becuase of resampling and resynthesis. Because these are the parts that the producers, in the interview, forget to mention.

I'm talking about Massive as a whole. Sure, if you read my post earlier, i used FM to achieve that super growl.
Soundcloud

But it can be replaced with a Massive synth. HOWEVER. Massive is not the synth MAKING the sound. It is simply contributing.

If KTN said that he uses Massive to create his bass, i can assure you, its a modern talking sound giving that wimpy "yoiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiio" sound.
He changes it to an audio wave, and just distorts the shit out of it until he gets the gnarly reese.
You can't achieve his sound in a plugin like massive. It wasn't made for it.

Also, here is a video of him producing synths in reason. Just to add to the validity that he does indeed use it.

Patchwirk wrote: Funtcase doesn't use Thor though. Why should I listen to you?

Lol prick much?

mromgwtf wrote: They are unique in a few ways, one is the resonance, it sounds so clear, it never clips, the second one is the scream filter, third one is double notch, fourth one is band reject filter. I've never seen any better band reject vst filter than the one in the Massive. If you turn up the resonance on other filters it sounds like they just add a sinewave at the cutoff.

I agree about the scream filter, but I found other filters with BR/Comb filters more useful as they're external.
I suppose it depends what you're using them for, the filters are good - but you could definitely use alternatives imo.

WolfCryOfficial wrote:blahblahblah

Kill The Noise uses Ableton. I've watched him multiple times using Massive and Ableton, during the mau5hax event someone asked how he made the Talk To Me basses, he said he used Massive and then proceeded to use Massive within Ableton to make some sounds for the track he helped with during mau5hax, as did Feed Me. I also watched him making a track with deadmau5 during a livestream recently (which contains a lot of signature growly whomps...) guess what he used Massive. Skrillex uses FM8 primarily as well as Massive and Operator.

Also that KTN video you posted is nearly 4 years old... he's moved on.

Many people (including my own efforts) have made decent growly basses in Massive.