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hookjunior wrote:Hey all!

Sorry i have been crazy inactive. Been really busy lately with music and all. Im going to make one more post here i think with some more tips that i have been learning with sound design and try to help all of you out a little bit.

I will not be going over exact details of this sound because i want you all to make your own awesome sounds, but i hope i can point you in a good direction that will help you all grow(L) as producers.

Soundcloud

That sounds so pro. Any tips?

hookjunior wrote:Hey all!

Sorry i have been crazy inactive. Been really busy lately with music and all. Im going to make one more post here i think with some more tips that i have been learning with sound design and try to help all of you out a little bit.

I will not be going over exact details of this sound because i want you all to make your own awesome sounds, but i hope i can point you in a good direction that will help you all grow(L) as producers.

Soundcloud

Growl sounds mental. How did you make this?

OK I have a couple minutes to pound out some really important things that I have learned in the last couple of months. Once again, my sounds are really my sounds, and in an industry where sound design is as crucial as it is in dance music, I really dont want to give out patches or any details that will create a bunch of people using the Barely Alive sounds. I will however share with you all some crucial realizations that have helped me get to where I am (where ever that is....).

0.)I'm going to preface all of these tips by saying it is super important to use both a spectrum analyzer and an oscilloscope.This one is great and I always have it open when making sounds. (http://bram.smartelectronix.com/scope_docs/)

ANYWAY

1.) Understand how different band widths (the Q value) in an equalizer effect a sound. To visualize this I like to experiment with a saw wave and boost +12db and then adjust the bandwidth while looking at an oscilloscope. You will see that as the bandwidth value becomes sharper, there is a more audible tone created. This is called resonance and it is awesome. This is all fairly simple stuff, but it leads into the next point really well:

2.) Learn how to make acid basses, how they work and why they sound good. They are very important im my opinion because:

3.) EQ before distortion! This is the most important piece of information I can give you and is the KEY to creating your own unique sounds. This is the advice any sound designer will give as far as creating cool basses, and I feel like I only really got to grasp why it is so important. Once again, pull up an oscilloscope and make a resonant EQ boost on a saw wave at 700hz. Look how it makes a formant, in the oscilloscope, and then look at the spectrum analyzer. There is essentially a boost in the spectrum where you boosted (obviously...). NOW before the spectrum and after the EQ throw on a saturator or what ever you feel comfortable using to make things distorted and see how it effects the spectrum. Essentially what it will do is create a bunch of harmonics based off of the fundamental EQ boost. The reason this is so important is because it allows the vowel to exists in other areas of the spectrum aside from the area that is boosted. What THIS allows you to do is change the base sound even more, because now your EQ boosts are changing the entire spectrum as opposed to just one area that is boosted. After you modulate the first EQ that is peaking at 700hz it sounds like an acid bass. Good. This is the theory behind most of my growls now, and it allows me to create really unique sounds from simple waveforms like saw waves. (the growl posted earlier was actually modern talking hehehe)

4.) Compression before distortion can completely change a sound in a good way or bad way. Totally your call.

5.) This is the final and most important tip I can give and it is one that I absolutely LIVE by in terms of sound design: HAVE A PLAN OF ACTION! What I mean by this is go into a sound with a plan on how to create the sound you have in your head. This sounds easy in theory, but in practice it proves really tricky. When you listen to a sound over and over it is easy to change what you have in your head. The most important part of being a successful sound designer is being able to identify what is wrong with a sound, and then methodically fixing it. In the same vein when something sounds good, you should be able to identify it, and then decide WHY it sounds good. If you can accomplish this than you are better than most.

6.) I know I said the last one was the last tip, but I just wanted to say thanks for sticking with this thread for so long and fuck rules.

7.) Hollaback

hookjunior: hey this is actually more helpful than someone trying to explain how to make a certain sound. Point 3 for me sounds really exciting I'm going to try that. Btw which spectrum analyzer do you use. I use glisseq its great but not as fast as FL's tiny one at top. It's ultra smooth and fast but its too tiny.

Thanks alot hook!

i made this growl today, could use some feedback (ignore the second sound):
Soundcloud

So, after the few things i read on the post i came up with this feedback pls

http://soundcloud.com/oscarfunk/growlll ... zz/s-seCD1

avdj wrote:So, after the few things i read on the post i came up with this feedback pls

http://soundcloud.com/oscarfunk/growlll ... zz/s-seCD1

That growl is soooo close man!
This is a new one!
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avdj wrote:So, after the few things i read on the post i came up with this feedback pls

http://soundcloud.com/oscarfunk/growlll ... zz/s-seCD1

WOAH OSCAR WTF!

THat sounds amazing, how did you make this? I check back in this thread daily and Ive never gotten close, what could be wrong with me.

Also, your tunes are fab, why aren't you signed yet?

The drop on a WIP of mine, tried making some growly bass amongst other types.

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DUDE...Oscar has been doing reese/neuro stuff for a minute...He's pretty consistent and the mixdowns are top notch. He's someone I rarely get the privaledge of communicating with, but always has positive criticism. Follow that dude. He's got it. It's just a matter of time before garnering enough attention

enjarcher wrote:The drop on a WIP of mine, tried making some growly bass amongst other types.

Soundcloud

That growl is soooo grimey! LOVE IT!

Hey guys, this is my first attempt at a growl bass after reading much of the stuff you guys posted here. And I have to say: THANK YOU! I think I have been getting much closer to this whole growl thing now.

Here it is:

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What do you guys think? Any tips?

i think i finally got a decent sounding growl, what do you guys think?
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Berri wrote:i think i finally got a decent sounding growl, what do you guys think?
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Reminded me of the first sound at the drop in this
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I've seen quite afew Growls on here that involve the use of vocoders. The "YaWeh is God" patch i heard earlier in particular was pretty cool. I know Abelton's vocoder is perfect for adding just the right amount of vocoding to your FM8 & Massive patches. In fact they are the only ones i can find on youtube. But i use Logic...and quite frankly the stock EVOC 20 TrackOscillator is shit...and i can't find any vids of anyone using any other vocoder on FM8/Massive growls. For you Logic guys out there what do u use to accomplish this?

I've heard good things about the Orange Vocoder....but i haven't seen any vids of it being used this way. Most vids just show some talky drum crap....or running some vocals through the Orange Vocoders own internal carrier synth.

Berri wrote:i think i finally got a decent sounding growl, what do you guys think?
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i fucked around with the sound a bit more, what da you guys think now?
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Dadunn1700 wrote:I've seen quite afew Growls on here that involve the use of vocoders. The "YaWeh is God" patch i heard earlier in particular was pretty cool. I know Abelton's vocoder is perfect for adding just the right amount of vocoding to your FM8 & Massive patches. In fact they are the only ones i can find on youtube. But i use Logic...and quite frankly the stock EVOC 20 TrackOscillator is shit...and i can't find any vids of anyone using any other vocoder on FM8/Massive growls. For you Logic guys out there what do u use to accomplish this?

I've heard good things about the Orange Vocoder....but i haven't seen any vids of it being used this way. Most vids just show some talky drum crap....or running some vocals through the Orange Vocoders own internal carrier synth.

Wondering too. Currently using the mac version of FL just for vocoding even though I'm a logic user. Evoc 20 sucks.

Berri wrote:

Berri wrote:i think i finally got a decent sounding growl, what do you guys think?
Soundcloud

i fucked around with the sound a bit more, what da you guys think now?
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That's dope man. How did you make it?

Hey guys, stumbled upon this thread last night and read pretty much all the way through it... a lot of good stuff in here. I've followed some of the tips from this thread and have been messing around with a growl ... what do you guys thing? It's not exactly what I want, but it's much closer than I've been in previous attempts. I can help anyone if people like it

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bouncingfish wrote:

Berri wrote:

Berri wrote:i think i finally got a decent sounding growl, what do you guys think?
Soundcloud

i fucked around with the sound a bit more, what da you guys think now?
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That's dope man. How did you make it?

well first i just made a simple massive growl:

https://www.dropbox.com/s/pbxjwsal79oykb8/bwoooouh.nmsv

but then:

ALL THESE PLUGINS N' SHIT

basically i have no idea what i actually did but it turned out well :/

heres the full channel strip setting for any other logic X users (requires massive):
https://www.dropbox.com/s/x5lxvggayzj66 ... 20shit.cst

sorry that this dosn't really go into detail but i am a lil busy right now i might write something proper later.

thanks for your time