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GregoryTJ wrote:
I use Fruity Love Philter, I grabbed some comb presets from the Image-Line forums a while back.

As far as I know a comb is just a bunch of notch or peak filters.

You might be thinking of a phaser which delays the input signal a tiny bit and plays it over itself which creates phasing, in the end it sounds like a notch comb filter, but maybe some comb filters use delay lines instead of notch/peak filters, heck some notch/peak filters are made of delays.

Anyway, here are the comb presets:

https://dl.dropboxusercontent.com/u/921 ... mb%201.fst
https://dl.dropboxusercontent.com/u/921 ... mb%202.fst

Hey thanks a lot for the presets. I downloaded a free comb filter vst called Boomcomb/BoomPlug its not all that great for growls. Its sounding like a chorus with delays or something
I don't know how one can use it for growls but it has a speed knob in its delay section and it moves the whole sound across the spectrum sounds kinda cool.

On the site its says "This filter is a delay based effect where it feeds back a delayed version of itself. Because of this it can create an effect similar to a flanger and can also give resonation type effects."
http://boomplug.co.uk/documents/products.html

Here's my Angry Cat Growl Just Sytrus no processing
Soundcloud

HimanshuVikal wrote:Here's my Angry Cat Growl Just Sytrus no processing
Soundcloud

LOL, next Skrillex here!

SMANS growls are all about vocoding.
People are saying we're starting to over complicate.

Skrillex said in an interview the sound itself is just an operator patch.
Sinoid fold distortion is a big step.

But getting vocal qualities really relies on vocoding. You can process your sound all you want.

R3b_Official wrote:
Soundcloud

Also on a side note guys i think were making growls a bit to complicated. I think Ive found a good way to get that SMAS growl we have been looking for. I was messing with a wave shaper the other day and got a very ridged sound using a massive. Imagine what it would do in something like fm8 or operator. I have a hunch he might have made it in operator, used a couple external processing in a group chain and slapped a vocder on and used the Oh my god sample for some of the growl movement. You can sort of but slight hear that vocodor sound pushing through.
]

It sounds good bro, but theres not enough vocal characteristics and there isnt enough underwater sounding squishiness to it. I'm close to sure that skrillex in some way passed his bass through a vocoder. How do you think he made it say "bass drop" in his EQUINOX song? And also it matched the chopped up vocals. Its because he USED, the chopped up vocals as the carrier, for the bass he was vocoding. There are plenty of people who have figured it out.



Its not about getting a super dope gnarly sound in massive or FM8 or Syrtus.
How about get a clean, gritty sound, that is good, reese bass sounding.
Then pass it through a vocoder, and allow your carrier to provide the modulation. That way your bass can be simple and clean. This is the best and least complicated method.

I try to make most of my bass through vocoding.
If you check the song in my signature, all my growls in that song were vocoded.

I know a lot about it, and i can teach all of you, and there are people on YouTube who can. But i think this is the way.
But we'll never figure it out, because theres no way to completely recreate the sound even if the parameters by skrillex were revealed and were copied. They will sound slightly off. But this is the generic way. I believe, based on my depth of understanding.

That sounds really nice, first good use of a vocoder on a growl I have seen in a while.

I'm convinced vocoding is not the way to go, simply because there's no trace from a vocoder in his growls. Maybe on some parts in equinox, but I really doubt it's used on the smans growl

blinkesko wrote:I'm convinced vocoding is not the way to go, simply because there's no trace from a vocoder in his growls. Maybe on some parts in equinox, but I really doubt it's used on the smans growl

This, I agree perhaps partially on some tracks as the bass sometimes can follow his vocal chops... but that could just be clever automation as with Kill The Noise's "Talk To Me" bass - it sounds like it's speaking but it wasn't vocoded.

jujment699 wrote:

Phat Camel wrote: Skrillex growls are not about vocoding... They are about fm patch and EQ on it 100%.

Do you even realize how many artifacts EQ formant cutting leaves? Do you know how many sounds over the entire audio spectrum you have to remove to EQ a vowel into a sound? You're left with complete mush.

You do realise people make growls without vocoding, solely using EQ/filter modulation, right?

Just had to edit this thread to remove some unpleasantness. Either be civil to one another or don't post, it's a simple choice.

wub wrote:Just had to edit this thread to remove some unpleasantness. Either be civil to one another or don't post, it's a simple choice.

Edit: thanks wub.

wub wrote:Just had to edit this thread to remove some unpleasantness. Either be civil to one another or don't post, it's a simple choice.

thanks

GregoryTJ wrote:

HimanshuVikal wrote:Here's my Angry Cat Growl Just Sytrus no processing
Soundcloud

LOL, next Skrillex here!

I think I can make a cricket (as in insect) growl/sound too.

So im gone for a couple hours and something happened and wub was brought in? Guys in all honest opinion were making this way to complicated. I think the growl is a crunchy patch in operator and he ether vocoded AND made eq formant cuts. One thing i can say if your doing the eq cut method is throwing a distortion effect on very big and wide frequency lets say at 119 to 140 and distorte the shit out of it. Next get your eq cuts in exact areas were you applied the distortion. Thats why ohminicide is good because you can apply bands at a certain frequncy. You modulate the cuts in the EQ and you get more of a vocal sound. Ive come to the conclusion that the more you distort or change your mid range the more you get a vocal sound. Such as the range we humans speak at. I could be wrong but thats what im seeing if thats not the obvious.

Lets try each make an attempt at getting this down. A couple of us do a vocoder trick, which i think plays a big part and other stick to using eq cuts and other modulation? Sounds good anyone?

I could release my ableton project if anyone wants to change or do whatever to my operator patch.

Last note, I think.... it could be resampling look it as this. One having a large rack would kill your cpu and mess up your whole project. Such as mine, went to like 130% at one point. Another point is that these guys, mainly kill the noise have been working with reese basses for so long that they figure a technic in which to get more vocal sound whilst also keeping that nice rounded reese bass/growl such as in talk to me.

I remember i saw a masterclass video somewhere about this Dnb producer living in some town in Check or Russia. Im not sure how to explain the area but there were bullet holes in walls and some shit but this guy would make these nasty reese and half the time he was using foley or vococoding samples within his reese. Such as recording himself say something and then going to his homemade sound booth and bang on shit with his vibrating gun thing. Got some crazy sounds with that. Like he put the gun thingy on the back of a guitar and it made this nice dark sound. Like some premade reese was bult into the guitar but i dont know.


I say we take some ideas from designing a reese and resample vocals or other samples into our growl . First we get out patch and modulation, then go into cutting out frequnecys and boosting them, Add a couple effects to get nice twisted sound like Kill the noise. Add a sub layer with the same reese but have it vocoded. Do some notch modulation in the mid range for good talking and moving effect and BAM MONSTER GROWL.

Could be something easy or something really complicated but i dont know... I got my patch sounding the gritty ness of SMANS growl but sadly im lost on how to get it more vocal while still having it crunch.

R3b_Official wrote:So im gone for a couple hours and something happened and wub was brought in? Guys in all honest opinion were making this way to complicated. I think the growl is a crunchy patch in operator and he ether vocoded AND made eq formant cuts. One thing i can say if your doing the eq cut method is throwing a distortion effect on very big and wide frequency lets say at 119 to 140 and distorte the shit out of it. Next get your eq cuts in exact areas were you applied the distortion. Thats why ohminicide is good because you can apply bands at a certain frequncy. You modulate the cuts in the EQ and you get more of a vocal sound. Ive come to the conclusion that the more you distort or change your mid range the more you get a vocal sound. Such as the range we humans speak at. I could be wrong but thats what im seeing if thats not the obvious.

Lets try each make an attempt at getting this down. A couple of us do a vocoder trick, which i think plays a big part and other stick to using eq cuts and other modulation? Sounds good anyone?

I could release my ableton project if anyone wants to change or do whatever to my operator patch.

Last note, I think.... it could be resampling look it as this. One having a large rack would kill your cpu and mess up your whole project. Such as mine, went to like 130% at one point. Another point is that these guys, mainly kill the noise have been working with reese basses for so long that they figure a technic in which to get more vocal sound whilst also keeping that nice rounded reese bass/growl such as in talk to me.

I remember i saw a masterclass video somewhere about this Dnb producer living in some town in Check or Russia. Im not sure how to explain the area but there were bullet holes in walls and some shit but this guy would make these nasty reese and half the time he was using foley or vococoding samples within his reese. Such as recording himself say something and then going to his homemade sound booth and bang on shit with his vibrating gun thing. Got some crazy sounds with that. Like he put the gun thingy on the back of a guitar and it made this nice dark sound. Like some premade reese was bult into the guitar but i dont know.


I say we take some ideas from designing a reese and resample vocals or other samples into our growl . First we get out patch and modulation, then go into cutting out frequnecys and boosting them, Add a couple effects to get nice twisted sound like Kill the noise. Add a sub layer with the same reese but have it vocoded. Do some notch modulation in the mid range for good talking and moving effect and BAM MONSTER GROWL.

Could be something easy or something really complicated but i dont know... I got my patch sounding the gritty ness of SMANS growl but sadly im lost on how to get it more vocal while still having it crunch.

Thanks a lot man! Some interesting ideas right here!

I think i'm getting more movement on growls. Soundcloud

Phat Camel wrote:I think i'm getting more movement on growls. Soundcloud

Dude that is sick, please explain??

Hello my name is Lord Omega and I have a few tips on how to make stinking filthy reese basses.

1) Detuning oscillators

2) F**k tonnes of distortion

3) Bandreject filters

4) White noise

Hope that helped

GUYS YOUR'RE ALL MAKING IT TOO COMPLICATED

LordOmega wrote:Hello my name is Lord Omega and I have a few tips on how to make stinking filthy reese basses.

1) Detuning oscillators

2) F**k tonnes of distortion

3) Bandreject filters

4) White noise

Hope that helped

The reese bass thread has far surpassed this drivel.

mthrfnk wrote:GUYS YOUR'RE ALL MAKING IT TOO COMPLICATED

+1