The Official Growl Bass Thread

[Ohmicid]

Everyone here's talking about FM8 and stuff, yeah alright. But what about Reason? How do you make it in reason?
Just apply FM synthethis with a PPG Formant to a square?

[dubesteppe]

Ohmicid: theres plenty of tutorials of people recreating sounds like this in reason on youtube. some of them are actually quite close

[Reversed]

Distortion always before filters because otherwise it leads to artifacts and stuff you dont want. Clear filtering is key to a clear sound.
Compressing it too much shouldn't be nessecary unless you're going crazy with distortion
I think a slightly wet bandpass around 300-600 and maybe another 1200-1400 in combination with some notches would be best, but at the moment i don't have time to play around too much, i'm gonna continue tomorrow because right now it's 3.34am and im kinda tired.
fm8 seems okay, but other synths seem to get a more clear sound, however they lack the dynamic waveforms of fm8. I think malström would work best for stuff like this, however i'm still not that good at that synth.
in fm8 i only use the internal envelopes for the operator output to modulate the sound, don't like the internal filtering of fm8 too much, it sounds pretty muddy and too basic.

[dubesteppe]

put filters before destortion, but eq sounds after theyve been destorted

heres somemore unconventional growls ive created

Soundcloud
Soundcloud
Soundcloud

Soundcloud
if anyones interested in their construction ill dig up the project files and look. most of them are granular based

[OfficialDAPT]

Do these sounds fit in this thread? Not really sure what makes up a "growl bass" totally
Soundcloud

[Reversed]

put filters before destortion, but eq sounds after theyve been destorted
Soundcloud
if anyones interested in their construction ill dig up the project files and look. most of them are granular based

why the filter before the distortion? Also, they main synth in that wip is pretty interesting... you don't have to post a project file a basic idea of how you designed that synth would be cool

also sorry that i haven't contributed anything yet, but i've been wasting hours on fm8 today already and nothing of it seems worth posting yet...

[VirtualMark]

OK so i'm making alot of progress with this growl

I'm using a different technique I call head-chopping.. (has to do with eq and compression)

the big problem i'm having righjt now is i'm getting a high-pitched resonating sound along with my bass.. it sound like its somewhere around 10-15khz but it doesn't show up on the analyzer


i tested all the plugs and its none of them (i thought it might be a sharp resonance setting or conflicting cutoff points) but its none of them.. there seems to be some type of inherent hum when you use so many plugins.

cannot notch it out!


BTW,, i got yelled at for not telling my secrets.. but no one seems to be responding to me.. i thought the last growl i uploaded was pretty damn good

You have secrets? The growl sounds too wide, it'll probably collapse in mono. And there's no weight to it - the frequencies are too high and irritating. Try using a formant chart and bring out some of the lows.

[dubesteppe]

put filters before destortion, but eq sounds after theyve been destorted
Soundcloud
if anyones interested in their construction ill dig up the project files and look. most of them are granular based

why the filter before the distortion? Also, they main synth in that wip is pretty interesting... you don't have to post a project file a basic idea of how you designed that synth would be cool

also sorry that i haven't contributed anything yet, but i've been wasting hours on fm8 today already and nothing of it seems worth posting yet...

theres no set in stone way to do it, but by distorting a signal you are adding harmonics to the sound. sometimes these harmonics are plesant and could be taken away by the filter. othertimes they are harsh and need to be eq'ed. for sure man I'll help you out, are you talking about the deep growl or the hi growl?

[Reversed]

theres no set in stone way to do it, but by distorting a signal you are adding harmonics to the sound. sometimes these harmonics are plesant and could be taken away by the filter. othertimes they are harsh and need to be eq'ed. for sure man I'll help you out, are you talking about the deep growl or the hi growl?

Yeah you're probably right, it's more situational kind of decision.
I'm talking about the high growl kind of sound. I heard it in some other tune a few days ago and i thought it might finally help me understand those square-y neurofunk kind of basslines that are also in koan sounds max out or other glitch hop stuff by kursa (vexille i.e.) and stuff, but i couldn't figure it out. (sorry for kind of OT)

[Instep]

You have secrets?

would'nt you like to know big boy?

The growl sounds too wide, it'll probably collapse in mono. And there's no weight to it - the frequencies are too high and irritating. Try using a formant chart and bring out some of the lows.

I listen to your track and its quality so I won't get mad at you. I dunno if you knew but I posted several attempts throughout the day and I would say they got better. So for one days work its not bad.

Anyway, I could imagine it being to wide. I used a simple delay set to time, all the way wet, with abotu a 15 ms time differential between speakers. I'm not so sure it would collapse in mono. Each speaker actually has a different sound technically. So maybe i'm wrong. But if you listen to "needed help" skrillex ft. twelfth planet.. there is a bass sound in there that is clearly two separate sounds in the left and right speaker doing completely different things and different times. THATs what makes it so shocking and "in front" Fuyck mono. Why do you care about mono?

Also I didn't even do sub basses because well, I just forgot.

BTW, how do you go about make your sub bass? Is it another track with a sine? What if there is movement to the midrange. how does that relate to the sub??

any other advice on giving more weight to the midrange.. and pulling out the highs without it becoming muddled?

[DJPontificate]

I used massive

That's pretty much what I do. It's not like it's hard; sample and hold is your friend.

[OfficialDAPT]

I used massive

That's pretty much what I do. It's not like it's hard; sample and hold is your friend.

parabolic shaper is my friend

[VirtualMark]

I listen to your track and its quality so I won't get mad at you. I dunno if you knew but I posted several attempts throughout the day and I would say they got better. So for one days work its not bad.

Thanks, glad you like the tune. I wasn't having a go, just giving honest feedback. It takes ages to make good basses, how long have you been producing for?

Anyway, I could imagine it being to wide. I used a simple delay set to time, all the way wet, with abotu a 15 ms time differential between speakers. I'm not so sure it would collapse in mono. Each speaker actually has a different sound technically. So maybe i'm wrong. But if you listen to "needed help" skrillex ft. twelfth planet.. there is a bass sound in there that is clearly two separate sounds in the left and right speaker doing completely different things and different times. THATs what makes it so shocking and "in front" Fuyck mono. Why do you care about mono?

You might find that your awesome mixdown suddenly sounds like crap on some sound systems, its good practice to check in mono and make sure your sounds don't fall apart. I've made this mistake before, played my tune on a friends system and it sounded awful. It was because i was producing in headphones at the time, and i made the sounds way too wide.

Also I didn't even do sub basses because well, I just forgot.

I didn't mean the sub, just the distortion is a bit harsh. Most of the pro growls have a lot of low end weight and sound deeper, its tough to do tho.

BTW, how do you go about make your sub bass? Is it another track with a sine? What if there is movement to the midrange. how does that relate to the sub??

This has always puzzled me, i've got the hang of it lately. I leave the sub until late in production now, usually i just duplicate the synth channel and turn off all effects and just have a sine osc. That way it mirrors what the bass patch is doing. I keep an eye on the notes and keep it under 100hz, if the bass notes go too high then i still keep the sub low, it doesn't have to follow the bass perfectly.

any other advice on giving more weight to the midrange.. and pulling out the highs without it becoming muddled?

Honestly, it just starts to happen with practice. I listen to my old stuff and it sounds terrible, but i didn't realise at the time. After a while you start to pick up on what sounds good and what you need to do to a sound to get it how you like it. Things like distortion can easily be overdone and sound bad, so multiband distortion helps as you can choose what bands to process. I'm no expert, i'm still learning to make good basses.

For growls i've been experimenting with a few things. Pitching the sound down, make a good patch on fm8, automate the eq after it, multiband compression, distortion, notch filters, the usual really.

[Mannyyyyy]

You guys are super over thinking it. You can make growls easily just in massive.... Some of the things on here are so crazy jesus!!!!! 0.0

[dubesteppe]

theres no set in stone way to do it, but by distorting a signal you are adding harmonics to the sound. sometimes these harmonics are plesant and could be taken away by the filter. othertimes they are harsh and need to be eq'ed. for sure man I'll help you out, are you talking about the deep growl or the hi growl?

Yeah you're probably right, it's more situational kind of decision.
I'm talking about the high growl kind of sound. I heard it in some other tune a few days ago and i thought it might finally help me understand those square-y neurofunk kind of basslines that are also in koan sounds max out or other glitch hop stuff by kursa (vexille i.e.) and stuff, but i couldn't figure it out. (sorry for kind of OT)

ok thats an easy one what i did was get an instance of massive and make a reese out of a square (technically a hoover?) anyways it was just three squares, two of them were detuned by 15 cents. then i made a 4 bar midi clip with some pitch bending automation to get that wonky feel. i boucned it to audio and preformed granular synthesis on it, then i freq split. lows got nothing. mids got some slight phaser, and highs got a very slight bit of flanger. really low rate on the phaser and flanger. good luck! if you make something cool i'd love to hear it

[dubesteppe]

any other advice on giving more weight to the midrange.. and pulling out the highs without it becoming muddled?

try some parallel distortion

[jrisreal]

Here's another garbagestep for you guys.
Soundcloud

Zipped FLP.
http://www.mediafire.com/file/9lvu2d19m ... d_Cack.zip

Can't really explain how I did the original sound because I did it over a year ago...and don't remember a thing about it.
FLP uses the free Melda Plugs (which are great), which can be found here:
http://www.meldaproduction.com/freevstp ... ffects.php

[OfficialDAPT]

Here's another garbagestep for you guys.
Soundcloud

Zipped FLP.
http://www.mediafire.com/file/9lvu2d19m ... d_Cack.zip

Can't really explain how I did the original sound because I did it over a year ago...and don't remember a thing about it.

Phatten those sounds up bro and they could be going somewhere!

[Marzz]

and honestly a shitton more than I'd rather keep secret haha

I fucking hate when people do this

^
why do you participate in a conversation about production techniques when you're not willing to share like others are.

P.S.: I am trying to enhance hookjunior's method, it basically sounds good but since it's sinewaves a lot of harmonics are lost in that patch, therefore i am currently experimenting with using other waveforms as carrier, etc. and also i find that a manual flanger at a certain position can make a nice spectrum that makes it sound even more growl-ish. Anyway I'll keep at it for a bit, maybe i'll get something useful.
Also try using 2 Operators that control the carrier and are modulated by the formant 10 wave with different characteristics, i.e. sine + saw, or something like that.

EDIT: The several types of growls in this track have been discussed on the forum before i think, however no one made any great sounds; Most of it is reese based it seems, but we will probably not figure out how this works anyway, because Feed Me/Spor's filtering is insane.

Well Feed Me/Spor is like one of the many kings of sound design/synthesis but I saw a great video by Deadly Habit with filtered reeses on Massive and putting them through Kontakt in three or four instances for frequency splitting/resampling and then iZotope Trash to get like Phace basslines and stuff like that definitely a video to watch to get these sounds.
Here is the thread

[Mannyyyyy]

This bass is just pure massive, no external plugins, no anything just massive, and it's really easy to achieve without going nuts like everyone else here is!

Soundcloud

yay