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Dayn wrote:Haha dude, its cool! I might have asked that and its nothing i would be ashamed of if i did
Allthough i cant remember doing it haha.

ok. and nice set at EvenBetter 2011

Dayn wrote:Haha dude, its cool! I might have asked that and its nothing i would be ashamed of if i did
Allthough i cant remember doing it haha.

Between you and Reso, I feel like Im being watched.


Long time no hello though man, hope everythings good with ya.

Hi I had a go at this.

In Ableton I put abletons Vocoder on my mic and then added a CMT bitcrusher on top of this. I pitched my mic dow 24 using the Vocoder and played around with the formant filter in vocoder. I also tried adding Ohmicide ontop off all this. These 3 "filters" really gave a great sort of talking bass and all i had to do was say stuff into the mic.

Play around with the three filters and you should get a cool "original" sound.

Hope it helps.

Hey guys I got a "talking" wobble patch I made in Massive to share, it's pretty basic and really just a starting point but I rekon it sounds semi decent.

http://www12.zippyshare.com/v/48369402/file.html

You can hold off on the criticism I know it isn't the best

Maybe this has been said before, but the vowel shift happens between roughly 250 Hz to 700 Hz btw so be sure to have an LFO assigned to the cutoff in that area before you Downsample and before you turn up the Q at 1500 hz (i.e. nearly destroying your ears)- and another thing, it doesn't work very well if you use a high pass filter on this shit, you'll get more crackling noise than a solid tone. But I don't know, personally I like to fuck around with stuff I already found out so much I wouldn't even listen to myself if I were reading this

shroomhead1 wrote:Maybe this has been said before, but the vowel shift happens between roughly 250 Hz to 700 Hz btw so be sure to have an LFO assigned to the cutoff in that area before you Downsample and before you turn up the Q at 1500 hz (i.e. nearly destroying your ears)- and another thing, it doesn't work very well if you use a high pass filter on this shit, you'll get more crackling noise than a solid tone. But I don't know, personally I like to fuck around with stuff I already found out so much I wouldn't even listen to myself if I were reading this

Good info!

You can get pretty interesting vocal effects if you use a saturated flat filter, and play with maybe 2 oscillators with different wave forms(saws, traingles, and sines are easy, all sound brilliant, sines are gutty) pick one to be high and one to be low, check out the sounds you get with that, and then switch them around however and play with your envelopes, I guarantee you get at least 10 different sounds, all very vocal, all way more interesting than "yoys", without a bitcrusher, which sound like shit anyways, stop using them.

this is speaking as an albino user.

if you use logic: the ringshifter with low frequencies, if used subtly, can give sweet non-cheesy vocal sounds to basslines.

Kes-Es wrote:You can get pretty interesting vocal effects if you use a saturated flat filter...

What's a flat filter?

futures_untold wrote:

Kes-Es wrote:You can get pretty interesting vocal effects if you use a saturated flat filter...

What's a flat filter?

Not sure precisely as I'm not well versed, I'd assume by "Flat" It means it lets all the sound through without doing much to it. Basically it sounds like it does the same things as a highpass filter, but fuller and without the other shitty things high pass filters do, like hurting your head and hissing.
I don't even know if it's a strictly albino function or not.

Kes-Es wrote:

futures_untold wrote:

Kes-Es wrote:You can get pretty interesting vocal effects if you use a saturated flat filter...

What's a flat filter?

Not sure precisely as I'm not well versed, I'd assume by "Flat" It means it lets all the sound through without doing much to it. Basically it sounds like it does the same things as a highpass filter, but fuller and without the other shitty things high pass filters do, like hurting your head and hissing.
I don't even know if it's a strictly albino function or not.

What you're describing sounds like an all-pass filter. It changes the phase of signal at the cut-off point rather than boosting or attenuating it.

Thanks for the pointer on the yoy though.

futures_untold wrote:

Kes-Es wrote:

futures_untold wrote:

Kes-Es wrote:You can get pretty interesting vocal effects if you use a saturated flat filter...

What's a flat filter?

Not sure precisely as I'm not well versed, I'd assume by "Flat" It means it lets all the sound through without doing much to it. Basically it sounds like it does the same things as a highpass filter, but fuller and without the other shitty things high pass filters do, like hurting your head and hissing.
I don't even know if it's a strictly albino function or not.

What you're describing sounds like an all-pass filter. It changes the phase of signal at the cut-off point rather than boosting or attenuating it.

Thanks for the pointer on the yoy though.

No worries, shit like this happens when you learn from twiddling knobs instead of reading books and stuff .

Dayn wrote:

Hypefiend wrote:

nftfhx wrote:So i've spent a fair amount of time trying to come up with the sort of talking synths people like Dayn and occasionally Doctor P use...

funny how you mention Dayn since when he first came to this site he was asking how to make "dirty wobbles" in Massive.

PICS OR IT DIDNT HAPPEN!

http://www.dubstepforum.com/viewtopic.p ... 42#p973742

Talking wubblez are overrated

I had a mess about with the bit crusher technique for a few minutes using just sine waves.

http://db.tt/PFjERly

narrator wrote:I had a mess about with the bit crusher technique for a few minutes using just sine waves.

http://db.tt/PFjERly

not bad