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mthrfnk wrote:

joshhh wrote: And the 2nd in this at about 1:20

High Rankin released a Massive presets pack on Loopmasters I believe. Go check it out, I wouldn't doubt he's packed in the synth you want.

its not in there any help in making it?

Hi, I'm pretty new to making music and I'd like to try if someone could possibly mimic these bass sounds? They are pretty minimal to be honest but it appears to be hard for me at least! Would be nice to have Massive presets...



Thanks

Hey guys..

well I have really been trying to pump out filthy metallic brostep if you will type of sounds out of massive..I'm not sure what I'm doing wrong, but I have messed with different types of filters and can't really find anything that sounds nice.

I know about the 'Help me make that sound' thread, but I'm generally speaking here.

The best tune I could find to summarize the type of sounds I need some help making is this.



Any and all help is appreciated, thanks!

That just sounds like he tweaked Laser Shifter and Brutal Electro, just experiment with them and a lot of automation.
The daft and scream filters work well. Also experiment with both serial and parallel filter modes.
Use the performer a lot, draw in LFO curves.
Throw a frequency shifter on one of the inserts, play with the routing.

Really though it's all been discussed hundreds of times. It mostly comes down to experimenting and recording the results for use later.

1. Familiarize yourself with all of the wavetables. How they sound, how they change as you turn the position knob. Some of the ones I really like are saw (that's how they did it for years!), modern talking for the yoi sounds, rough math, strontium for that loud, beefy sound, crusher or digi grain for those dirty harmonics, sonic for metallic stuff. But try them all

2. The modulation oscillator (especially phase mod) will add a lot of grit and punch. detuning the mod osc a little bit will make it more noisy.

3. lp4, scream and daft filters are best for wobbles. Acid can be good for laser-type stuff. Bend reject is good for adding movement. Comb really messes up the sound but it can sound crazy if you find good settings.

4. Make sure you set your voicing up, I usually use 4 or more. Use pitch cutoff and pan position too.

5. Good effects to make it fatter and dirtier are sine shaper, hard clipper, classic tube and dimension expander

6. Make sure you're using portamento, pitch bend, varying your LFO speed alot or using the performer, etc. to make it more interesting. Set your LFO/performer to modulate stuff other than cutoff, like wavetable position, resonance, wet/dry on your inserts, frequency on the EQ, etc.

Just following those tips you should be able to make a huge range of high-quality brostep sounds right out of massive. In your effects try adding anything you want like distortion, waveshaping, bitcrusher, phasers, saturation, reverb, vocoders, ring mod, just try all of your plugins and see which ones benefit that particular sound. I find that having several subtle effects at once is better than having only a few stronger effects. Don't use too many though or it will ruin your sound.

Jacob15728 wrote:1. Familiarize yourself with all of the wavetables. How they sound, how they change as you turn the position knob. Some of the ones I really like are saw (that's how they did it for years!), modern talking for the yoi sounds, rough math, strontium for that loud, beefy sound, crusher or digi grain for those dirty harmonics, sonic for metallic stuff. But try them all

2. The modulation oscillator (especially phase mod) will add a lot of grit and punch. detuning the mod osc a little bit will make it more noisy.

3. lp4, scream and daft filters are best for wobbles. Acid can be good for laser-type stuff. Bend reject is good for adding movement. Comb really messes up the sound but it can sound crazy if you find good settings.

4. Make sure you set your voicing up, I usually use 4 or more. Use pitch cutoff and pan position too.

5. Good effects to make it fatter and dirtier are sine shaper, hard clipper, classic tube and dimension expander

6. Make sure you're using portamento, pitch bend, varying your LFO speed alot or using the performer, etc. to make it more interesting. Set your LFO/performer to modulate stuff other than cutoff, like wavetable position, resonance, wet/dry on your inserts, frequency on the EQ, etc.

Just following those tips you should be able to make a huge range of high-quality brostep sounds right out of massive. In your effects try adding anything you want like distortion, waveshaping, bitcrusher, phasers, saturation, reverb, vocoders, ring mod, just try all of your plugins and see which ones benefit that particular sound. I find that having several subtle effects at once is better than having only a few stronger effects. Don't use too many though or it will ruin your sound.

Thanks so much dude! Really good tips there

Going to be adding this to my list of production homework!

need to know how to make that yeeeeeaaaawwww noise thats like sliced and broken down or something, ive heard it before but never so epic lol if anybody knows please help me out its at 0:35.

I want to make the laser-ish sound heard at 0:33

any help would be great thanks

At 0:56, reminds me of like wind or something similair, seems like it has a large spread.

Any help is appreciated.

How could I make something sound like it's playing at a really low bit-rate? Think of listening to music/watching a music video way back on early dial-up internet, it had this certain distorted grain to it. The closest I can think of is in Aphex Twin's song "Windowlicker" in the beginning. It sounds like it's low quality, but even if you have the song in .flac it sounds the same. I really like that low bit-rate gritty sound, and how it sounds with other sounds that are good quality. The contrast is often really nice sounding.
http://www.youtube.com/watch?v=hCgqnGTfJ2M

acrap wrote: need to know how to make that yeeeeeaaaawwww noise thats like sliced and broken down or something, ive heard it before but never so epic lol if anybody knows please help me out its at 0:35.

It sounds like either modern talking or an automated formant filter on a standard filthy bass. They have two LFO's, one slow and one fast. The fast LFO is set to M. talk wavetable position (very small range) LP filter cutoff and panning. The slow LFO is set to M talk wavetable position (second slot), range of panning, and and distortion wet/dry mix (I would use the mechanical on Camelphat and CMT Bitcrusher). After that use an EQ to notch out unwanted frequencies.

If you don't have Massive then get Forma-8 and draw in an automation lane that looks like a serrated ramp, and apply it to a reese or similar bassline.

thanks alot jacob although i only understood some of what you wrote i do have massive but i dont have camelphat or bitcrusher. and i dont know how to draw in an automation lane that looks like a serrated ramp. glad to see somebody responded

mthrfnk wrote:

q-t wrote:I'm wondering how to make this kind of huge, powerful Kick/Bass combination that you hear in a lot techno.
It's almost completely atonal and sounds a huge cloud of bass.
I've tried to overdrive, saturate, filter, compress and even add a touch off reverb to a fat kick, but I just can't get it.
Any tips?

Example 1:00 at drop

Add a fat stabby sub bass layer under you kick, eq them to sit nicely, play around with the results.

I'm sorry but that answer doesn't help me at all. Of course I gotta have some kind of stabby sub bass layer. That's pretty obvious.
The thing is that it doesn't sound like the usual sub bass. This one is a lot warmer, has more edge to it and as I've said, sounds like a fat cloud, not like a sine wave.
I think it's a combination of special soundwaves (maybe very low saws?), saturation and a lot of compression and filtering. The problem is that I just can't get it right.
Anyone else have an idea?

acrap wrote:thanks alot jacob although i only understood some of what you wrote i do have massive but i dont have camelphat or bitcrusher. and i dont know how to draw in an automation lane that looks like a serrated ramp. glad to see somebody responded

OK, I'm gonna try and recreate the sound and explain in more detail because I kind of want that sound too.


First I set an oscillator to Modern Talking. Go to the voicing tab and set your unisono to 8. Where it says pitch cutoff, click "on" then drag the slider a tiny bit to the right (the smallest increment it will let you drag it). Also click "on" where it says pan position and drag the slider about 25% of the way to the right. Add Classic Tube to fx 1, with dry/wet and drive at about 11:00. Set fx 2 to dimension expander and turn dry/wet and size to about 9:00. There's the fat yoi bass.

Now, bring the 5 LFO to the first slot under the Modern Talking wavetable position, and drag it so the range is quite small, like 15% of the whole knob. Set the LFO to sine and rate of 1:24.

Bring the 6 LFO to the second slot and drag it so it covers the entire range of the knob and set it to sine and rate 1:1.

Set filter 1 to Daft. Resonance at about 10:00, cutoff at about 2:00. Put LFO 5 on the cutoff and bring the range up so the green part just touches the end of the knob.

Now set insert 1 to Sine Shaper. Dry/wet about 8:00, drive at 12:00. Put LFO 6 on the drive and turn the range all the way up.

Now for the panning. Set LFO 7 to square, 1:24 rate. Put it on the pan knob (in the amp section) and turn the range all the way up. Then set the amp of LFO 7 to 12:00, and make LFO 8 modulate the amp with the range all the way up. LFO 8 should be sine, 1:1 rate.

Not perfect, but I think it's the best you're gonna get with just Massive. Add some more effects to make it bigger and cooler sounding. I would also add an EQ to boost the frequencies you like and reduce the ones you don't like, because the sound right out of Massive does have a few frequencies that sound kind of bad.


EDIT: I forgot to mention this is only using a single oscillator, turn the other ones off

1:22 i like the way skrillex & zomboy do some of their vocal samples, all pitched up & glitched. would i just find some girl acapella samples & mess with glitch progressions?

Hey guys, I've been trying to figure out for a while now how to make a bass like the one used in Cyberoptics' track "Plasma Cutter" at 1:22. I know he uses Massive, I've just been trying to recreate a similar fast moving bass and I figured I would turn to you guys for some help. He uses the same style of bass in Wormhole and Outlaw as well.

This is the track I am speaking of:
Soundcloud

Neurosylum wrote:Hey guys, I've been trying to figure out for a while now how to make a bass like the one used in Cyberoptics' track "Plasma Cutter" at 1:22. I know he uses Massive, I've just been trying to recreate a similar fast moving bass and I figured I would turn to you guys for some help. He uses the same style of bass in Wormhole and Outlaw as well.

This is the track I am speaking of:
Soundcloud

keep playing with different waves & lfo combinations keep giving your sounds more dimension til it sounds like something you can really feel. cyberoptix is a big inspiration of mine & im not going to say i sound like him at all but im pretty sure you can tell im influenced by him, listen to one of my tracks in sig. & you can see how an armature guy is trying to create those types of builds & drops & maybe get a new perspective. hope that helps at all, peace.

Hey I would like to know how to make that kind of vocal synth

at 1:49


1:17


I sampled it , analyzed it, and it's incredible, I d'ont know how to make that =(

I thought you mean't the frowned up yoi for a moment then...

Can't help with this though sorry