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dubunked wrote:doesn't sound like anything more than a sine to me. but you could look at it under a spectrum analyzer and you might be able to see if it's got harmonics.

well i achieved something similar by getting a smooth sq in massive distorting it, then pitching it right down with a low pass and a pitch envelope

kaili wrote:

dubunked wrote:doesn't sound like anything more than a sine to me. but you could look at it under a spectrum analyzer and you might be able to see if it's got harmonics.

well i achieved something similar by getting a smooth sq in massive distorting it, then pitching it right down with a low pass and a pitch envelope

whats the purpose of the pitch envelope?

I've always been under the impression that if you take a square or a saw or anything besides sine/triangle, and pitch it so that the fundamental is in the sub octave, and then take an LPF and cutoff everything besides the fundamental, then that is basically the same thing as a sine. not sure if that's true, hopefully someone can confirm...

dubunked wrote:

kaili wrote:

dubunked wrote:doesn't sound like anything more than a sine to me. but you could look at it under a spectrum analyzer and you might be able to see if it's got harmonics.

well i achieved something similar by getting a smooth sq in massive distorting it, then pitching it right down with a low pass and a pitch envelope

whats the purpose of the pitch envelope?

I've always been under the impression that if you take a square or a saw or anything besides sine/triangle, and pitch it so that the fundamental is in the sub octave, and then take an LPF and cutoff everything besides the fundamental, then that is basically the same thing as a sine. not sure if that's true, hopefully someone can confirm...

yea but you leave the lp open a bit and put a bit of resonance on it to allow more harmonics thru
and the pitch envelope isnt for that purpose it just gives it a really nice movement, also had lfo on the amp

Heres a patch I made in the past couple minutes, got a nice feel to it. Now its up to you guys to modulate and tweak a couple Macros i made to get a nice wobble going. I think you really like this one m8's

To lazy to make a demo but mess around with pitch env in your daw( Forgot to set the pitch up and down in massive. Oh well) Good luck! You can branch off this patch and use other wavetables or whatever. Id like to see anyone make something else or demo some other own "sub/low-mid range Bass"

http://www.mediafire.com/?n8vkudjmmdgskom

been curious as to how to get sounds like lx one & youngsta - responsibility. i've tried layering sounds on top of subs and fiddling with the attack/release etc. but i just can't get it to sound quite as tight as it does in this tune. it's hard to explain..



the one that really gets me is the "boh" synth sound it's very short. heard at 1:02 and 1:29. i love that sound it is SUPER dutty haha. i'm not trying to replicate it exactly but i'm definitely curious as to how it was done.

Any luck you guys lately with these sounds? Going to experiment with some out of synth filters and draw out my own automations for a filter. See how that goes I think its about how you eq and filter out sound. How much res and what you can cut out, i remember cutting out my whole mids in a bass and got some nice low grimey stuff. Still resonate though.

R3b_Official wrote:Any luck you guys lately with these sounds?

Been working on some songs with some low-mid basses. I'll post them here when I'm done.

@difference: sorry I meant to respond to that a while ago. I know which sound you're talking about. That's a real tough one m8. It sounds very squarey for sure, like a distorted 808 with the sub filtered out or something, but I don't think that's how they made it because it sounds like some of the other sounds in that song which don't really sound like 808s. Also, I've found that excessive amounts of reverb (if you leave the sub bass clean!) can help give these dungeon sounds that bowed string-ish feel like the sound at 1:05-1:06. I wish I had a better answer for you man. It's a shame the guys who are real big on sound design are too focused on growlfart dinoreeces

That's either an 808 with the compression/saturation treatment OR a square + distortion and playing with the amp env.

Very Interested in this thread. Wish i had something to contribute :\ most my sound design is accidental.
Will defiantly try though contribute when i can though

Kane6789 wrote:Very Interested in this thread. Wish i had something to contribute :\ most my sound design is accidental.
Will defiantly try though contribute when i can though

Well you can always contribute by asking for help if there's a sound you really like and are having difficulty making it. Post a youtube video and I'll see if I can help, I'm sure others will too.

Soundcloud
not sure if this qualifies, made it last night though

Any of the main Synth starting at 16 seconds. Anyone ?

Kane6789 wrote:Any of the main Synth starting at 16 seconds. Anyone ?

which tune?

Sinergy wrote:Soundcloud
not sure if this qualifies, made it last night though

can't access it.

Perhaps what we should discuss a bit is what Plugins/Synths are you using to make these sounds? Also, what approaches to patches are you using? I'm using FM8, Massive, and Operator right now and honestly I think that is what is limiting me. I know its really not about the gear you are using but about the approach to the design you want. But it almost seems like I'd be able to have a little more success with variation if I had some different machines or plugins to try out. You know?

oh did i not post a tune?
This one http://www.youtube.com/watch?v=q_sojmb2u8g
Hmm Yeah i dont really use to many plugins to be honest, I use reasons thor synthesiser then just use effects based in ableton, I have found psp vintage warmer can help though!

To me those sound like very lowpassed neuro-reeses with some modulation. Start with a lowpass on detuned saws. Add chorus, distortion, other effects, LFO, and then modulate something to give it that movement. But definitely check out the reese bass thread for some info on how to make really complicated reese basses.

But remember that lowpass!

I'm only listening on a laptop though so there might be something in the sub I'm not hearing.

Also hahaha I love that lyric - "Well how do you know what he saw was real..... I don't know that it was.."

Nanobot wrote:Perhaps what we should discuss a bit is what Plugins/Synths are you using to make these sounds? Also, what approaches to patches are you using? I'm using FM8, Massive, and Operator right now and honestly I think that is what is limiting me. I know its really not about the gear you are using but about the approach to the design you want. But it almost seems like I'd be able to have a little more success with variation if I had some different machines or plugins to try out. You know?

Yeah I often think about this. I've heard a lot of people who aren't on the massive/fm8 fad say that zebra is a really good synth. Personally I use Sylenth, Massive, and FM8 to make my sub and low-mid range basses.

Keep this thread alive please
I've always had difficulty making these sub bass sounds that have a bit of mid range, without getting them to sound weird in the mix/not flow perfectly with the sub.

Skeptical does this really well:

(the main bassline after 27 secs)
And this Truth tune has a similar type of bass:


Is it just a little bit of distortion, eq'ing and maybe some reverb?

no, it's a second layer of sound. i've been tinkering with this kind of stuff for the past few days and i'm finally getting some desirable results. i'm pretty confident that sounds like this are almost always layered. sub layer just chills, then i add a mid range note that's in key but is still pretty low/bassy, really make sure the 2 sounds aren't clashing and then apply compression and effects to the low/mid sound to taste. i really like just making wubs and bass drops and just experimenting with making the two sounds fit together as tight as possible. obviously having an accurate listening setup with clean, low end extension is key here.