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kejk wrote:

Johnny Quest wrote:Dude, seriously. what are you the fuckn spelling police or something??

Dude, seriously. wat r u da fkn jhonny qeust or somethang??/

I LURVS EWE KEJK

rhek wrote:I feel bad adding to the fukin barrage of questions but..

I was just wondering how you get you mid range modulation? Like on 'Technetium' or 'If you cant Beat em'. Do you use midi automation on an LFO clock (i.e 1/4 to 1/8 etc) or do you just write a simple line and then chop the audio and add envelopes afterwards?

Do you work more with MIDI for your warping/modulated synth sounds or do you write a simple line in midi and then fuck it up/get the groove via audio cutting?

Your an inspiration mate.

okey dokey, the technetium modulation is just the lfo of massive set to 3/16 on the clock. If you can't beat em is just the esx24 lfo, generally i'll just use the lfo of whatever synth i'm using. The only exception to this was beasts in the basement where i used the logic tremolo and chopped the audio to give it the wobble.
Some times i automate the midi to make the lfo change other times i'll just duplicate the channel and change the lfo rate. Depends what i want really.

i'll fuck with the midi then render it down to audio and mess with it some more (not so much the rhythm, more adding things like comb filter etc to make it more twisty)

Lethargik wrote:I know we are on DSF and all that, but i love Slap Chop!

How did you make those wubs? They've got a really wet dense quality..... What's the secret?

Cheers

Albino 3, just went mental with the 3rd saturation on the filters then ran it through camelphat, roughrider, bit crusher and some reverb. eqing at various stages to get rid of unwanted frequencies.
Also for the varous different wubs i just change a few of the waveforms.

atomik chronic wrote:The biggest mystery of your tracks right now is the intense presence and clarity despite the massive loudness and booming RMS, without any cacky distortion.

When you send your track over to the mastering house, what are your guidelines for insuring that everything sounds tasty with the limiting they apply?

You're able to get such rich, crisp high end without any clipping or frequency conflict. What's the secret to having all those sounds get along above 3000hz? Getting the hihats/samples/hirange synths to gel together in an undulating way just like the kick and bass..

I always leave 2db headroom for the mastering engineer, also when i come to the final mix, when i think i'm happy i'll rag it through a limiter and see what's causing any trouble and fix as is needed.

With my tops, i'll just do lots of subtractive equing and panning to spread them out, then group various parts and apply an overall compression, maybe a tickle of limiter to get them to gel together. Mainly though its about getting sounds that work together and aren't occupying the same frequency.

I don't really think my tracks are that loud tbh though, i've sort of given up with the loudness war thing, i'd rather make the track good musically rather than have to leave out parts because they take up too much headroom.
If i have a tune that's uber loud when i'm mixing (djing) , i'll just turn the gain down, that's what it's for

reso wrote: 3rd saturation on the filters

Word. Number 3 is the tasty taste.

mekha wrote:I would like to know how do you take care of your hearing? how do you deal with that? Do you take breaks? Do you have tinnitus or hearing damage?

I can't go to a club without earplugs now, please please please wear earplugs in a club. i went deaf for a week in my right ear after playing once without earplugs and was paranoid that i was fucked for life.
I have permanent tinnitus now which is very very shit, a nice 3kz tone permanently in your ear is not the one.
Also i don't monitor at a ridiculous volume, i only turn up my tracks when it comes to the mixing stage and even then i'll take breaks all the time.

corpu5 wrote:big up reso for answering all those questions, i was wondering if you (or anyone else) could tell me how you made the 'Ooww' sound when the track 'technetium' drops at 00.46. ive been trying for a while but havnt seem to have been sucessful. Doesnt have to sound the same, i just wanna know the technique. cheers!

distorted reese with a high pass filter going down i do believe!

sorry if i haven't answered you question specifically but those are the one's that have been answered earlier in the thread.

Don't be a lazy git, go back through and find the answer!

komanderkin wrote:anyway, here's another one for reso. two actually, both regarding the epic buildup of otacon.

- at 0:54 or something like that, a kick slams in and after that moment everything sounds like it's being sucked into a turbine of a jet plane preparing for takeoff. did you use some eq to achieve that effect or is it just those white noise and synth buildups in the background that are making it sound so mad?

- the japanse dude yelling something like oraoraoraoraaaa over the drumroll just before the drop, which anime does he come from? those final few seconds of the buildup are breaking the barriers of intensity in music, i must add.

komanderkin wrote:

komanderkin wrote:anyway, here's another one for reso. two actually, both regarding the epic buildup of otacon.

- at 0:54 or something like that, a kick slams in and after that moment everything sounds like it's being sucked into a turbine of a jet plane preparing for takeoff. did you use some eq to achieve that effect or is it just those white noise and synth buildups in the background that are making it sound so mad?

- the japanse dude yelling something like oraoraoraoraaaa over the drumroll just before the drop, which anime does he come from? those final few seconds of the buildup are breaking the barriers of intensity in music, i must add.

A ha! the sucking sounds is just about 5 or six layers of rise noises/white noise that i made which are ran through a highpass filter gradually rising through the frequencies i think. Something like that anyway.

The sample is from jojo's bizarre adeventure, it's the noise jojo's star platinum stand makes when he's punching the shit out of someone lol.

hope this helps

reso wrote:

corpu5 wrote:big up reso for answering all those questions, i was wondering if you (or anyone else) could tell me how you made the 'Ooww' sound when the track 'technetium' drops at 00.46. ive been trying for a while but havnt seem to have been sucessful. Doesnt have to sound the same, i just wanna know the technique. cheers!

distorted reese with a high pass filter going down i do believe!

awesome! cheers man, i think this has got to be the most informative q&a ever made on the dubstepforums, thanks for answering all our questions! This thread could potentially go on......forever haha

tell us about expirience to work with Starkey on that "choon for two hours" thing at Radio1.
I saw that video, you guys are making history big ups!

Huge fan of your work! Really love Onsen!

reso wrote:

mekha wrote:I would like to know how do you take care of your hearing? how do you deal with that? Do you take breaks? Do you have tinnitus or hearing damage?

I can't go to a club without earplugs now, please please please wear earplugs in a club. i went deaf for a week in my right ear after playing once without earplugs and was paranoid that i was fucked for life.
I have permanent tinnitus now which is very very shit, a nice 3kz tone permanently in your ear is not the one.
Also i don't monitor at a ridiculous volume, i only turn up my tracks when it comes to the mixing stage and even then i'll take breaks all the time.

Tinnitus is a fliping B**** init! Best not the think about, thats one why to cope and it works.
Nice to hear Dj's are protecting there ears. What's plugs do you have?

You ever use any kind of drum kit in the process of getting ideas or recording?

Lately ive found that running a metronome at whatever tempo im feeling is an excellent way to pull out beats if ive got nothing already sitting on my mind. I'll open up an audio track and run an electric drum kit into it and drum out some beats. I use that "sketch" as kind of a reference for making the programmed beat sound the way i want it to. just wondering if you do anything similar!

I just want to let you know that you're probably one of my all time favorite producers. Your tunes are fucking killer.

And sorry about the tinnitus, can't imagine what it would be like.

Most of my questions have been answered so far, but if I manage to think of one I'll let you know. Thanks a ton for doing this Q&A, and thanks for the music you make

It must be said again.

Otacon has the best drop in dubstep/music history. Everytime I hear this on a good system I'm about to fucking faint. Thanks for that.

reso wrote: I can't go to a club without earplugs now, please please please wear earplugs in a club.

THIS!

Please people, DO IT! I can't stress enough on how important this is, no matter whether you're a DJ, a producer, a promoter, an mc or just a regular club visitor. Hearing is for life.

I'm glad I got a lot of my friends doing this, and trust me, they are really glad too!

Big up, Reso, you're a real badman.

Jason

Hey dude, this is an epic thread, cheers!

Just wondering about waveforms in massive. When making basses do you have a combination of oscillator waveforms you like to use as a starting point? Are there any waveforms you particular like eg. due to their character when passed through a certain filter? Do you tend to use many of the digi waves ("dirty needle" etc).

thanks in advance laddie!

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MOTHERDAVID wrote:Hey dude, this is an epic thread, cheers!


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