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Mannyyyyy wrote: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!

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yay

this is sick!!!!!

I saw this thread and found some old reesey samples I made a while back that could be passed of as dungeony growls.

I am not sure if they fit the thread so I won't talk about them unless someone wants me to.

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The first one is a drone I exported to play through samplers, so obviously if you were to use it you would cut it up and add reverb and stuff.

Mannyyyyy wrote: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!

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yay

That's pretty cool, howd ya get it?

Gentle speech and 2 saws. Bandreject and highpass2 in series. Sine shaper and parabolic shaper. Modulate all the waveforms and the filter. Envelope the highpass to go off in the tip. Adds more growl. Modulate the eq and just experiment. Its really just messing with filters and eq and seeing how the distortions work together. All my songs in my sig are pure massive

Mannyyyyy wrote:Gentle speech and 2 saws. Bandreject and highpass2 in series. Sine shaper and parabolic shaper. Modulate all the waveforms and the filter. Envelope the highpass to go off in the tip. Adds more growl. Modulate the eq and just experiment. Its really just messing with filters and eq and seeing how the distortions work together. All my songs in my sig are pure massive

great minds think alike

Hey manny what DAW are you in?

He's in logic

Mannyyyyy wrote:Gentle speech and 2 saws. Bandreject and highpass2 in series. Sine shaper and parabolic shaper. Modulate all the waveforms and the filter. Envelope the highpass to go off in the tip. Adds more growl. Modulate the eq and just experiment. Its really just messing with filters and eq and seeing how the distortions work together. All my songs in my sig are pure massive

nice one, gonna try that out tonight.

I know people don't really put up videos here but I'd love to make a growl or nail the distortion of the growl in this Far Too Loud tune, love it.

cheers manny, your technique is sick. i got really nice results without any outboard processing apart from an eq in which i roughly sketched a formant shape.
tried out a couple other wavetables, i found a simple square with some phase mod really nice, got me some twisty neurofunk midrange.
i'd recommend using envelopes instead of lfo's for modulating all the different shit (i didnt do much just filter cutoff and sometimes wavetable position) to get less static results.

oh and @ the person who said you should always put filtering after distortion: i disagree. distorting an unfiltered signal will leave you with a mess mostly, whereas filters (especially with resonance) pronounce certain frequencies while taking others away -> different harmonics generated by distortion. if you modulate the filter in front of the distortion you'll get an evolving sound as opposed to some loud screeching thats being thinned out.

i mean hey both approaches have their place, dont get me wrong. but notching a bassline without at least saturating it a bit afterwards is boring

narrator wrote:I know people don't really put up videos here but I'd love to make a growl or nail the distortion of the growl in this Far Too Loud tune, love it.

Sounds like a FM8 based growl from the characteristics (could also be an acid wave with sine shaper in massive, it almost sounds the same as the whole formant 10 -> sine -> sine thing)
but the distortion... i dunno. Definitely gonna need multiband distortion i guess.

dubesteppe wrote: 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

Thanks, gonna try to get something out of it. I was thinking that granular synth on a reese / hoover could do wonders, since i actually was experimenting around in malström a bit and i found out that using the square*16 wave and using only a certain spot in it can sound pretty damn unique

Marzz wrote: 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

I saw that video, guess i'll have to experiment a bit more.

Mannyyyyy's bass is sick, gonna have to check that out

most of the time granulizing reeses sounds shit. you can get nice sounds out of it but its hit and miss really.
i got some sick monster sounds out of granulized gabba kicks one time though
so yeah if its smooth/square-ish it can work but the more guitar-like raw reeses will collapse into whispery nothingness.

can someone please explain the fm8 thing for noobs? seriously i dont even know where to start... what ratios? envelopes? i fucking hate fm8

hasezwei wrote:can someone please explain the fm8 thing for noobs? seriously i dont even know where to start... what ratios? envelopes? i fucking hate fm8

THIS!

hasezwei wrote:can someone please explain the fm8 thing for noobs? seriously i dont even know where to start... what ratios? envelopes? i fucking hate fm8

Someone ITT at the beginning has explained that he used Sine as carrier (means you use e.g. F as a sine that goes to the output) and another sine modulating it (in our example make the E operator modulate F, make a connection from E to F)
and make D modulate E, D being a formant 10. It's a good sound to start with. If you want to use envelopes i guess you should split the modulation to the carrier in 2 operators since if you put an envelope on one it's gonna be just the sinewave until the envelope comes in

EDIT: portamento and transposing is in the master tab if you're completely new to FM8

Trifonic's videos helped me quite a bit.

http://vimeo.com/9543504

There's also a DX7 video somewhere and a DX7 manual that imo is the best reference.

Reversed - He's looking at ratios to create sounds.
FM8 is all about ratio relations and how they effect the sound, ie. more metallic, more organic, etc.

Just thought i'd post up something kinda angry that i'm messing with.

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narrator wrote:Just thought i'd post up something kinda angry that i'm messing with.

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sick! i assume you used a hoover for that bassline too?

anyways here's what i have so far... it makes me mad that my synth design sucks so much, but i just want to contribute anything:

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Reversed wrote:
sick! i assume you used a hoover for that bassline too?

anyways here's what i have so far... it makes me mad that my synth design sucks so much, but i just want to contribute anything:

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No just a couple of scrap yards with a formant saw in massive, bit of phase modulation through the Mod osc on the 2nd scrap yard. then ran through a bandreject. there's no plugins used outside of Massive either.

Tip I just picked up from the High Rankin class on Point Blank - layer growls with foley recordings, apparently he does it and Noisia do it too (he mentioned in one of their tracks the bass is layered with a pressure washer recording ).

mthrfnk wrote:Tip I just picked up from the High Rankin class on Point Blank - layer growls with foley recordings, apparently he does it and Noisia do it too (he mentioned in one of their tracks the bass is layered with a pressure washer recording ).

I was reading billains q&a and he was talking about this. Did rankin give any techniques to layering the sound? I'd imagine that it would be hard to get some sounds to blend well with others