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u remember those old shitty cop movies when they get small details totally clear from a low res picture with some kind of program? I wish those existed in real life

e-motion wrote:any idea what waveforms/fx/noise type and filter types are there? lol

Genuinely no idea, he didn't really talk through it, just slammed it all into massive.

The only bits I remember him making a point of the feedback control and the way he used the performer control to give the growls.

funny thing its coming from 1 osc with no phase so it shouldnt be that hard to find it out. -14 on pitch and -2.22 on the pitch envelope

Another golden tip i catched the glimpse of from the other session is Joel putting a limiter on something then 3 compressors

BudSpencertron wrote:
so true,
but breakage for example can make both even in one tune sometimes but i get your point totally

Now that's something I'd love to see

I am actually pretty stoked to hear the 'roving room' tune when it's finished!
I'm a little disappointed with the 'main room' to be completely honest!

render wrote:funny thing its coming from 1 osc with no phase so it shouldnt be that hard to find it out. -14 on pitch and -2.22 on the pitch envelope

Another golden tip i catched the glimpse of from the other session is Joel putting a limiter on something then 3 compressors

Yeh the patch is really simple, and he used no external distortion or effects - everything is done in massive. All he added was 2 multiband compressors and pitch bent a few notes afaik.

Also yeah Joel said he normally puts all his basses into a channel, limits them together then compresses the shit out of them.

Yeah I bus and compress my basses too but why 3 compressors? to get different attacks and releases?

e-motion wrote:Yeah I bus and compress my basses too but why 3 compressors? to get different attacks and releases?

I don't know but will experiment. The dudes from the other session were so spooky and even whispering about it sounds like gold

render wrote:

e-motion wrote:Yeah I bus and compress my basses too but why 3 compressors? to get different attacks and releases?

I don't know but will experiment. The dudes from the other session were so spooky and even whispering about it sounds like gold

Yeh kinda weird. He must have done something specific to make it worthwhile.

Also I can't believe they've pulled the roving camera just as the foreign beggars turned up.

mthrfnk wrote:

e-motion wrote:any idea what waveforms/fx/noise type and filter types are there? lol

Genuinely no idea, he didn't really talk through it, just slammed it all into massive.

The only bits I remember him making a point of the feedback control and the way he used the performer control to give the growls.

Both of the filters are bandpasses. He mentioned how it affected the sound. I have been using this method with ableton's auto filter with an increased resonance, to get it move and hit formants.

He made a morphed envelope on the default "4" envelope but I can't recall what it looked like. I'm pretty sure he used all 4 of the envelopes which makes it hard to figure out which ones were put where.

Also, on osc1 it is a bend -/+.

Dee Reck wrote:

mthrfnk wrote:

e-motion wrote:any idea what waveforms/fx/noise type and filter types are there? lol

Genuinely no idea, he didn't really talk through it, just slammed it all into massive.

The only bits I remember him making a point of the feedback control and the way he used the performer control to give the growls.

Both of the filters are bandpasses. He mentioned how it affected the sound. I have been using this method with ableton's auto filter with an increased resonance, to get it move and hit formants.

He made a morphed envelope on the default "4" envelope but I can't recall what it looked like. I'm pretty sure he used all 4 of the envelopes which makes it hard to figure out which ones were put where.

Also, on osc1 it is a bend -/+.

The 4th envelope had loop set to 1.

Will read your replies afterwards... KILL THE NOIZE IS THERE!

Kill the noise is explaining the talk to me bass explicitly and the dumb fucks are talking over him

Sucks he's not using the PC thats streaming.

mthrfnk wrote:Kill the noise is explaining the talk to me bass explicitly and the dumb fucks are talking over him

Sucks he's not using the PC thats streaming.

From what I got, he told it was an illusion and an highpass filter. It's so funny that Feed Me, KTN and a bunch of other guys are part of a track that's pure sh*t. Now imagine a KTN vs Feed Me collab lol

e-motion wrote:

mthrfnk wrote:Kill the noise is explaining the talk to me bass explicitly and the dumb fucks are talking over him

Sucks he's not using the PC thats streaming.

From what I got, he told it was an illusion and an highpass filter. It's so funny that Feed Me, KTN and a bunch of other guys are part of a track that's pure sh*t. Now imagine a KTN vs Feed Me collab lol

Yeh to add from what I heard, it was a modern talking based patch that he used to create something that sounded like "talk to me" and then used an external distortion unit with a footpedal to control it. Judging from what he's doing now he loves modern talking lol. I wish those two had worked on the second room track, it's so much better than this main room shit.

scrapyard bandpass bandpass

render wrote:scrapyard bandpass bandpass

Scrapyard, Deep Throat, Modern Talking 2 Bandpass filters

Thanks! I missed that part.

too bad ktn didnt put anything into it

Finally showing Foreign Beggars

Actually, although I didn't learn that much from this video, it inspired me and I had a pretty awesome sound design session today