nftfhx wrote:haha:)
see, i get the formant filter, i can see how that gets the sound but it makes it more of a drone and then i get lost with this bitcrushing bit?
Use bitcrushers for overdrive... the tanish colored vst one that is kinda a generic google result has three 'modes' too pick from, play with them, then play with the overdrive, then turn your channel volume down to compensate for te massive percieved volume increase that comes from overdriving, then play wtih downsampling for a bit more vocal, and then the key is, make like 6 of those. The idea with vocal bass is that when the average human speaks, it will produce something like 80 different waveforms per vowel to make such a clean sounding speech... you would have to perfectly replicate each of those too get a perfect voice then, and from thier its all natural modulation essentially that we do with our throat and mouth. This is why we have a 'tone of voice' and then 'speech patterns', and those are actually the two classes of speech characteristic the law uses when conducting polygraphs and interogation, and too do voice analysis for matching people to annonymous phonecalls, ect.
Now, to translate that knowledge into bass, you have to get several different waveforms out of your distortions, and do it using the same input signal and output modulation. The presence of these harmonic waveforms, if they are made correctly, will creat ALL those YOYs and YOWs and WAHWAHs n vocal wobble hoo-haa. The idea with using bitcrushers, waveshapers, and formant filters in concert with each other is to produce the variety of UNIQUE and INTERESTING wave layers which must go into your final sound.
So, essentially, everyone I talk too fails here. They send a sine wave or BARE reese / square bass too mixer slot one, stick one bitcrusher on it, n scratch thier heads like lil apes trying to figure out how to get the banana out of the jar without getting thier hand stuck.
You have to send signal to mixer slot 1, and then route mixer slot 1 away form the master channel, so it has input, but no out. Now, you send its signal to several of the slots next to it (I.E. 2,3,4) ... Now, you route all these new slots that are now recieving the original signal away from the master, and send all of them to a single final output track, and cut thier volumes to a level which stabilizes your final output in track 5, have you followed me this far?
Now, using these middle bus tracks, you put a seperate distortion on each one, creating 3 unique waveforms which are meeting back into a final voice, get it?? This is where it is up too you too get entirely creative and abusing, and forge whatever sound you want from the raw steel of the sine wave...
Now LFO the input synth, and lfo the final voice using mixer modulations.
And anyone who told you you need a specific synth is so new and misunderstanding of what sound design is that you should be laughing at them. These are the people who think in VSTs and computer bull, and if you sit em down in fornt of some hardware one day thier gonna shat. Remember kids, its all just some effects on some waveforms. Drums, synths, its waveforms layered. Look at an 808 kick.
RANT OVER>>> QUIT ASKING THIS EVERYDAY>>> NOW YOU KNOW HOW TO DO IT.
