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I'm pretty sure this is subtractive synthesis, he probably came up with a basic growl patch with lots of high end, applied distortion to it, then took out bits using EQ, while slowly automating with notch filters ect., at the sweet spots.. That's how most dungeon growls are doneDubnasty wrote:The bass growl. It sound so good, how could I make this or something similar in massive or ableton?
I pieced it together from xKore's live stream recordings. It's pretty close but some of it I just went with what sounded good. I made the effect rack.Earjax wrote: Wow these are some really good starting patches for some great sounds. Gonna get tons of use out of these, you make them yourself?
Dee Reck wrote:I can show you how to make xKore's base sound but not those specific ones. He just changes up the performer and lfo's for different sounding movements.
Base sound is Massive but I noticed his favorite effect that gets that sound really fat is the Sound Goodizer which is in Fruity Loops. I used Sausage Fattener. Could also throw a vocoder on it to get it more slimey sounding rather than static.
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Camelcrusher preset British Clean. Mess around with the performers, which performer affects the amp and the attack settings on Envelope 1.
The Modulation OSC tab in Massive goes like this: Phase 1: fully turned | Position 3: fully turned | Filter FM 1: 10 o'clock
The Filter FM can really affect the sound too.
Well, KillSonik, was formerly known as Chasing Shadows, who were known to make some of the heaviest reese basses around (other than Noisia of course) and now they are making a more generic Skrillex-esque sound (probably a financial choice). So my guess is a lot of there basses are reeses made in massive with lots of filters modulating and such, and then loads of distortion and other things to beef up the sound. Now sadly their signature monster reese sound isn't the MAIN focal point in their tracks, you can still hear the majority of their basses are probably some of their old patches they just recycled and re-processed.blinkesko wrote:
I'm just generally amazed by the sounds in this track. If anyone could tell me how to make the first sound after the drop, I'd be thankful
If you just compared this track and chasing shadows/killsonik to skrillex you need to go and shove a brick up your ass. Their basses used to be just some reeses made with rob papen's blue i think, which were then just resampled tons with chorus and notch filters and put through guitar distortion emulators. This new stuff sounds more like some interesting massive patches with more subtle guitar distortion plugs on them and the same sort of resampling.Sechah wrote:Well, KillSonik, was formerly known as Chasing Shadows, who were known to make some of the heaviest reese basses around (other than Noisia of course) and now they are making a more generic Skrillex-esque sound (probably a financial choice). So my guess is a lot of there basses are reeses made in massive with lots of filters modulating and such, and then loads of distortion and other things to beef up the sound. Now sadly their signature monster reese sound isn't the MAIN focal point in their tracks, you can still hear the majority of their basses are probably some of their old patches they just recycled and re-processed.blinkesko wrote:
I'm just generally amazed by the sounds in this track. If anyone could tell me how to make the first sound after the drop, I'd be thankful
I'll have a go when I get up in the morning.
I wasn't really comparing the basses, so you don't have to be a prick about it. Chasing Shadows never used formant noises and such and now KillSonik does. Thats about it, I realize they are different and I wasn't comparing so again don't be an asshole, I was only trying to help.Earjax wrote:If you just compared this track and chasing shadows/killsonik to skrillex you need to go and shove a brick up your ass. Their basses used to be just some reeses made with rob papen's blue i think, which were then just resampled tons with chorus and notch filters and put through guitar distortion emulators. This new stuff sounds more like some interesting massive patches with more subtle guitar distortion plugs on them and the same sort of resampling.Sechah wrote:Well, KillSonik, was formerly known as Chasing Shadows, who were known to make some of the heaviest reese basses around (other than Noisia of course) and now they are making a more generic Skrillex-esque sound (probably a financial choice). So my guess is a lot of there basses are reeses made in massive with lots of filters modulating and such, and then loads of distortion and other things to beef up the sound. Now sadly their signature monster reese sound isn't the MAIN focal point in their tracks, you can still hear the majority of their basses are probably some of their old patches they just recycled and re-processed.blinkesko wrote:
I'm just generally amazed by the sounds in this track. If anyone could tell me how to make the first sound after the drop, I'd be thankful
I'll have a go when I get up in the morning.
KTN uses two Band Pass filters to create his vowels. - http://www.youtube.com/watch?v=UvMvE5gR_cMphilthy_phil wrote:squeally intro growl at :45 seconds? I've been trying to make it and even search this forum and videos but none of them sound the same, came close but no cigar
Sorry just from the way I'd read it, it sounded like you were saying the track sounded generic skrillex sounding, and that chasing shadows were selling out. Yeah they're using more common brostep type sounds now, but they are still amazingly well designed sounds that are original and sound unlike anyone else. And both new tracks still have the chasing shadows vibe and the percussion on gurly for example is literally next levelSechah wrote:I wasn't really comparing the basses, so you don't have to be a prick about it. Chasing Shadows never used formant noises and such and now KillSonik does. Thats about it, I realize they are different and I wasn't comparing so again don't be an asshole, I was only trying to help.Earjax wrote:If you just compared this track and chasing shadows/killsonik to skrillex you need to go and shove a brick up your ass. Their basses used to be just some reeses made with rob papen's blue i think, which were then just resampled tons with chorus and notch filters and put through guitar distortion emulators. This new stuff sounds more like some interesting massive patches with more subtle guitar distortion plugs on them and the same sort of resampling.Sechah wrote:Well, KillSonik, was formerly known as Chasing Shadows, who were known to make some of the heaviest reese basses around (other than Noisia of course) and now they are making a more generic Skrillex-esque sound (probably a financial choice). So my guess is a lot of there basses are reeses made in massive with lots of filters modulating and such, and then loads of distortion and other things to beef up the sound. Now sadly their signature monster reese sound isn't the MAIN focal point in their tracks, you can still hear the majority of their basses are probably some of their old patches they just recycled and re-processed.blinkesko wrote:
I'm just generally amazed by the sounds in this track. If anyone could tell me how to make the first sound after the drop, I'd be thankful
I'll have a go when I get up in the morning.
EDIT: I WAS NEVER comparing THIS track to Skrillex, I was thinking more of there crush on you remix.
Eh, no worries mate I was in the wrong if anyone, I know Chasing Shadows or KillSonik are from from the likes of Skrillex. But yes their new songs such as the one listed and girly are very metallic and very mysterious, very cool sythesis and guitar amp distortion behind it all really.Sorry just from the way I'd read it, it sounded like you were saying the track sounded generic skrillex sounding, and that chasing shadows were selling out. Yeah they're using more common brostep type sounds now, but they are still amazingly well designed sounds that are original and sound unlike anyone else. And both new tracks still have the chasing shadows vibe and the percussion on gurly for example is literally next level
Standard saw/square wave, maybe stack a couple of them. The main shape of the sound is an envelope on a resonant low pass filter. Set the low pass frequency pretty high and make the envelope cause the cut off frequency to sweep down.Fowles wrote:i'd love to know how to make the lead in the beginning on this song.
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So no one is gonna have a go at it?Sechah wrote:I wasn't really comparing the basses, so you don't have to be a prick about it. Chasing Shadows never used formant noises and such and now KillSonik does. Thats about it, I realize they are different and I wasn't comparing so again don't be an asshole, I was only trying to help.Earjax wrote:If you just compared this track and chasing shadows/killsonik to skrillex you need to go and shove a brick up your ass. Their basses used to be just some reeses made with rob papen's blue i think, which were then just resampled tons with chorus and notch filters and put through guitar distortion emulators. This new stuff sounds more like some interesting massive patches with more subtle guitar distortion plugs on them and the same sort of resampling.Sechah wrote:Well, KillSonik, was formerly known as Chasing Shadows, who were known to make some of the heaviest reese basses around (other than Noisia of course) and now they are making a more generic Skrillex-esque sound (probably a financial choice). So my guess is a lot of there basses are reeses made in massive with lots of filters modulating and such, and then loads of distortion and other things to beef up the sound. Now sadly their signature monster reese sound isn't the MAIN focal point in their tracks, you can still hear the majority of their basses are probably some of their old patches they just recycled and re-processed.blinkesko wrote:
I'm just generally amazed by the sounds in this track. If anyone could tell me how to make the first sound after the drop, I'd be thankful
I'll have a go when I get up in the morning.
EDIT: I WAS NEVER comparing THIS track to Skrillex, I was thinking more of there crush on you remix.
thats exactly how I thought it was made... but for some reason when I tried it, it didn't work..Turnipish Thoughts wrote:Standard saw/square wave, maybe stack a couple of them. The main shape of the sound is an envelope on a resonant low pass filter. Set the low pass frequency pretty high and make the envelope cause the cut off frequency to sweep down.Fowles wrote:i'd love to know how to make the lead in the beginning on this song.
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Attack set to 0; sustain set to 0 (or extremely low); decay set really fast; release set at 0.
To get the added crispness/high end that comes in slowly raise the cut off frequency of the filter (via automation of whatever). Optionally play with the decay timing to pull out the length of the plucks and also play about with sustain level to taste.
Pretty standard patch mate
