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I'm pretty sure the only way to go front to back with sound is surround sound, otherwise you can only go left or right. You might be able to accomplish a little more distance/depth with clever volume control on the panning, but i dunno. Never heard surround sound effects from only 2 speakers.slyman wrote:is there any way to control panning in a way that makes it seem like a sound is going front to back on the left and right
like imagine ur driving thru a tunnel and theres lights on your right and left and theyre whipping past u i want to do that but with sounds. theres got to b a way to do this without surround sound with that psychoacoustic stuff
Automate a lowpass filter with a sound that is already robotic sounding. Maybe a single rise and fall of a wobble, chop it, automate, throw on effects. Experiment.How do I make the talking robot sounds that Datsik & Excision use?
any good thread on this? Search didnt come through with anything
slyman wrote:is there any way to control panning in a way that makes it seem like a sound is going front to back on the left and right
anybody??dignan wrote:been listening to the new hyperdub comp a lot lately and I wanna figure out how burial gets the sub bass on "fostercare" to sound so HUGE! anyone got any tips on how to re-create something similiar to this? is it just a lot of layering, chorus, or what? any help would be appreciated!
it's basically everything you just mentioned - plus or minus some things. try messing around with panning as well, it can add a lot of width to your tracks. i.e. - assign the automated LFO you are using to pan and it'll fatten up that sound A LOT.thomask1uk wrote:Another silly question but we all have to start somewhere!
How do I make that smooth riser or build before a drop found on 99% of all dance music. Its not a particular sound that I am after but the technique really... the one that gradually rises in pitch and intensity until bobs your uncle, your face has been melted off by the drop.
First off I am a sonar user, so my first thought where to add a low pass filter that (through automation) would increase in frequency in time with the track but that sounded lame. Next I tried using massive to start my note an octave below the final pitch and gradually increase by a semitone every 3rd of a bar, but this sounded rubbish as I still have no idea how to allow massive to have portamento or a gliss like effect when changing notes.
Finally I tried to time an lfo to modify the note and build it but to no avail.
SO, what am I doing wrong? is it a combination of all three? Are people just using some super plug in to make these FX risers? I dont know but its really straining my music having to use the same build i got off a sample CD for everything.
at LAST! some one with an actual brain in this thread, honestly, if i had been in this thread 4 months ago, I could'v answered all the bassline questions in one go. and not being rude but, most of the questions here ARE about the basslines.growlater wrote:format-mcr. wrote: If you are referring to the midrange bass, to me this sounds like they probably are using a FM tone as the root of the bass sound. Frequency Modulation (FM) involes modulating one oscillator by another, and leads to very frequency rich sounds.
honestly mate, just get a sound you like, preset or whatever, and apply an envelope to the pitch, tweak the ADSR to fit the music and voilathomask1uk wrote:Another silly question but we all have to start somewhere!
How do I make that smooth riser or build before a drop found on 99% of all dance music. Its not a particular sound that I am after but the technique really... the one that gradually rises in pitch and intensity until bobs your uncle, your face has been melted off by the drop.
First off I am a sonar user, so my first thought where to add a low pass filter that (through automation) would increase in frequency in time with the track but that sounded lame. Next I tried using massive to start my note an octave below the final pitch and gradually increase by a semitone every 3rd of a bar, but this sounded rubbish as I still have no idea how to allow massive to have portamento or a gliss like effect when changing notes.
Finally I tried to time an lfo to modify the note and build it but to no avail.
SO, what am I doing wrong? is it a combination of all three? Are people just using some super plug in to make these FX risers? I dont know but its really straining my music having to use the same build i got off a sample CD for everything.
ok I heard that "Swagga" song, and as i expected, another example of what I'm trying to talk about.. most likley done on the native instruments FM8 vsti and bunch of distortion plugins. it's basically just creating metallic sounding FM (frequency modulation tones) setting up a HIGHPASSFILTER with LFOs, a pinch of resonance on the filter. but don't worry about the lfo/filter just yet. get the tones right first.boko91 wrote:Answewr the Datsik/Downlink one then!
Widdler would be a very easy person to contact and ask yourself. Simply download IRC and connect to irc.dubstep.fm, join the #dubstepfm channel, he Idles there. I'm sure he would be glad to give you pointers. Very nice dude. I believe he uses reason as his host. Sorry that this isn't a satisfactory answer, I'd rather you go to the source than to embrace my speculation.teffa wrote:
Was wondering how the hell did widdler made his bassline in Froggy Style?
Is there any free FM synths that would do this? or should I fork over the cash for FM8? What else is FM8 good for in dubstep?lynn mc wrote:ok I heard that "Swagga" song, and as i expected, another example of what I'm trying to talk about.. most likley done on the native instruments FM8 vsti and bunch of distortion plugins. it's basically just creating metallic sounding FM (frequency modulation tones) setting up a HIGHPASSFILTER with LFOs, a pinch of resonance on the filter. but don't worry about the lfo/filter just yet. get the tones right first.boko91 wrote:Answewr the Datsik/Downlink one then!
if you've not got FM8 it is a MUST for fearsome dubstep basslines
fm8.jpg
It is almost certainly what lynn mc is referring to. I would not be surprised if there are multiple instances of the same FM8 patch with unique modulations/variations on each being triggered at different times. Do what lynn says, work on the raw FM tone first, after you have produced an adequate tone, then take it to the modulation stage (either within FM8 using the synth's filters, or within a sampler using a bounced tone-or both). Clone your instrument / patch multiple times, and produce variations on the same idea, and trigger them at different times. Put lots of effort into the EQ stage, and lower the frequencies which you don't need, leaving the gnarly ones.Dark Reign wrote:
The mid range bass sound in Swagga is what Im looking to try and get down.
Also the intro to this?
http://www.youtube.com/watch?v=QMcyGLqm0N8
How does he get that sound?
thomask1uk wrote:Another silly question but we all have to start somewhere!
How do I make that smooth riser or build before a drop found on 99% of all dance music. Its not a particular sound that I am after but the technique really... the one that gradually rises in pitch and intensity until bobs your uncle, your face has been melted off by the drop.
First off I am a sonar user, so my first thought where to add a low pass filter that (through automation) would increase in frequency in time with the track but that sounded lame. Next I tried using massive to start my note an octave below the final pitch and gradually increase by a semitone every 3rd of a bar, but this sounded rubbish as I still have no idea how to allow massive to have portamento or a gliss like effect when changing notes.
Finally I tried to time an lfo to modify the note and build it but to no avail.
SO, what am I doing wrong? is it a combination of all three? Are people just using some super plug in to make these FX risers? I dont know but its really straining my music having to use the same build i got off a sample CD for everything.
