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xx773xx wrote:When doing all the cute notch work is it best to use and EQ and modulate or to use a notch filter with an LFO? I ask because in Ableton it seems when I sweep through with a notched EQ I hear little bleeps and blips, ie NOT part of the original sound.

I should also ask, is there any harm done by constantly resampling and notching out the midrange?

Whether you EQ or notch depends on which sounds better, or is more practical for modulation. I usually use the EQs in Kontakt for this business and haven't had any problems with bleeps and blips.

As for your second question, I wouldn't notch every time I resampled, but if it sounds good do it. Also when bouncing keep the bit depth as high as you can (24 at least, 32 is preferable if your DAW supports it), the other thing is listen to what you're doing to the audio - you can destroy a bass sound by constantly distorting, chorusing, blah blah blah - so it's generally a good idea to keep all the resampled files so you get it wrong you can go back and change things.

Thread necro but its come up twice this week, Ive uploaded a simple demonstration of a multiband compressor split as an .flp file for anyone who uses fruity...

http://www.mediafire.com/?bo2icck9klsneh6

link there.

ez.

stereotactic wrote:

Loving this track (Triage on fire right now, heavy duty tunage).

My question is regarding the reese that comes in at the end of every 8 bars once the tune drops (the same reese in the intro before it abruptly stops before the drop). How is it modulated? It seems to snake about all over the shop but I can't quite make out exactly what is doing it, though I am sure LFO to cut off/WT/distortion etc is a safe bet, I can't put my finger on it but would very much like to learn how to make such disgusting sounds

As always, any pointers greatly appreciated, getting enough knowledge on this forum for real.

Cheers!

Triage's basslines was the inspiration for the bassline in my track in my signature. I did it like so:

1. Made a bassline as phat as I could using ableton's operator synth
2. Split the bassline into 3 channels
3. Sub channel, didn't do much other than saturate + a little db boost
4. Mid channel - distortion, reverb, filters, eq, bitcrush.etc. - all modulated quite heavily
5. High channel - reverb, eq, distortion
6. Combined all channels into a "super" channel, that allowed me to affect all at once (such as filter sweeps.etc.)

Experimenting is the best way to get what you want.

stereotactic wrote:EZ fellas, nice work, loads of great tips here.

Already got my reeses beastier, still not quite getting (understatement) that ridiculous swirly movement Triage has going on, but that's why I'm sitting at my DAW practicing and they are blowing shit up.

Thanks for all the insight, top stuff.

Great artist (artists, 3 of them. hehe). I've been able to get something similar recently and it really is a combination of automating resonance, cutoff, eq (moving the frequency for a low/band/high pass), and having different distortion/reverb.etc. on each thread of the bassline. The hardest thing I find, is doing all of this and still keeping a nice sound at the end Trick - more dry than wet.

people try a bit too hard to create synth sounds by splitting signals resampling and getting mad technical... all this does is clogs up your CPU...


my advice would be to just programme the sound into wichever synth you like and experiment

NoMan_dubstep wrote:people don't try hard enough to create synth sounds by splitting signals resampling and getting mad technical...
experiment

Fixed

Here's a reese i've been playing with.. would love feedback. Ideally wanna get the liquid/watery feel to the top end. Any thoughts?

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