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hasezwei wrote:oh and ITS NOT A VOCODER GODDOMMIT!
look, kill the noise used to be ewun who used to do dnb and has been into resampling for years before datsik even started producing.
now what im trying to say now is NOT that youll need to resample your bassline 20 times to make it magically sound good but rather that the individual parts of the bassline are made independently and then arranged together. dont focus on how to make ONE sound morph in such a complex way that it happens to sound like someone saying actual words because frankly that wont happen. even going from one vowel to another that doesnt sound shit (like most formant filters) is pretty hard to do and most people dont manage that.

so what you do is make shitloads of vowels and transitions like OAH YU OI or whatever kung fu noise suits you, make them fit together by processing them similarly (send all your parts to a bus with compressor and saturation or something, get shit to gel) and have fun building words out of your new formant legos.
just dont expect people to understand wtf your bassline is saying unless you're telling them first like KTN did.

So he's doing what you're talking about, and then layered it with the sample to give the impression of him saying talk to me? That's brilliant.

It's very possible he created a harmonically rich bass, placed a vocoder on the channel and then routed this so that the 'talk to me' phrase operated as a modulator. This would bring some of those vocal characteristics into the bass.

Killamike49 wrote: So he's doing what you're talking about, and then layered it with the sample to give the impression of him saying talk to me? That's brilliant.

yes. theres instances of the bassline in the song without the vocals layered behind it and it doesnt sound like words at all. just a bunch of vocal noises like every other dubstep tune. what he did was make a bunch of different ones and arranged them in a way that sounds similar to "talk to me" if you want to hear it.
judging by his other tunes he must have spent shittons of time experimenting with various methods of achieving vocal sounds cause theyre pretty much all present in that "kill the noise part 1" tune. hes got ye olde bitcrushed yois, voice synthesis, formant filtering, formant eq'ing... all of that. and i think thats the thing, instead of hoping to find just one technique that can make all the sounds you want try focusing on making a ton of sounds you can combine even if you have to use different techniques every time.

i think its very plausible that a lot of the vocal sounds in "talk to me" are just automated massive wavetables with a lot of processing on them. try to go through all the wavetables to find spots that can sound like vocals (experiment with the formant setting too), and even if your wavetable will only go AE but not YOI dont fret cause after you made your AE you can still do the yois with another one.

Listening back, yes it is a mind trick at some parts.

The sampled "talk To me" while the telephone is 'busy' has to be a voice that's heavily modulated, (not the whispered talk to mes'). When the song gets going, yes it starts sounding a bit more doable without an actual voice. I guess it has to be cut up some how after you bounce out a bass, to the separation of the words.

Elytra wrote:but what about this guys...

what about it? it sounds stupid and not like skrillex
the guys eq automations need more tweaking and the initial sound needs more impact.
also knife party dont use maelstrom they use massive.
its actually easy to do these sounds in massive its just not everyone knows the few fx you have to use in order to get it sounding big and clean like these more known producers seem to. some of the distortion algorithms in massive are very clean & if you take advantage of it you can make some heavy impact growl sounds by experimenting with the distortion (the waveforms + the octave of the oscillators will matter as well as pitch bending).
using fm8 takes longer for this and doesnt sound as clean unless you tweak for a long time.

Well they made the bass talk at least lol. I see a vocoder over there.
Doesn't sound full, but with layering maybe they can get there.

Guidelines

Post examples (using the Video tag if you want to embed YouTube videos) of what sound you want to make - if your question is answered please try (if you can) to help someone back. If you can't help someone back, please contribute somewhere within the forum.

How does he do it. Pretty sure he uses Reason

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you dont need reason to do that mate ...

it's all about time measures/signatures man

you can write that in anything

Marzz wrote:you dont need reason to do that mate ...

it's all about time measures/signatures man

you can write that in anything

I know, I know... i only said that because I use reason and wouldn't mind any reason specific explanations

thats what cotti sounds like now?

wtf

They're very dirty south style, it's pretty easy once you've got the right samples. This should be along the lines of what you're looking for. Hope it helps

I have heard it in many tracks. I thought it might be a VEC sample but it's not. I like it because it has a long reverb tail. My guess is it is a stock FL sample but am not sure. If anyone recognizes the sample and/or can send it to me, I'd be very appreciative.

Example at :29

Why not just use a sample you have and put a long reverb on it

Its just a normal crash with a long decay with the same crash sample but reversed just before it. End result is a smooth sweeping sound if you arrange the cross over point right

Pulled this from a incredible film Cloud Atlas.

The sci fi gun sound you hear at 5sec 6sec 10sec 11sec in and so on, how is this made? It seems to have something to do with filter envelopes, maybe a low pass opening and closing over a electric/magnetic sound?

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It's just a reversed crash with a verb on it, here's an example for you:

http://deadlyhabit.com/dsfproductioncra ... %20Out.mp3

909 crash dry, reversed dry, added a verb on top.

Now to duplicate exactly like that tune all I'd really have to do is tune my crash's pitch and dial in a bit larger of a verb to taste, but that's all there is to it. (Hey I whipped this up and uploaded in about 2 mins max)

Made this quickly, suppose if you did some pitching/filtering it may sound similar?
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Edit, just did some messing:
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Details if you want

What type of type reverb would you recommend for this technique? Plate?

Finally managed to find the sample but am having a tough time making the tail extend like in the example above. Have tweaked the reverb time, but am getting nothing close. Please help.

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