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Cheers mayne - what do you want to know? This tune was pretty straight foward.ruckus49 wrote:Soundcloud
They sound like hollywood sound designers anyone else up on this? i wanna know how they made this
The main basslines are made with Albino. I probably would have used a mixture of the spectral waveforms and the analog ones. Obviously then i'd assign an lfo to the cut-off filter :O I used mainly band-pass filters but sometimes low-pass and utilized the 3rd type saturation which fills it out. Don't think i did much else in the synth - just some modulation changes and messing with envelopes/filters etc. The main thing with processing is eq'ing - i notch out loads of frequencies (literally loads, can't stress this enough) to clean it up then add guitar rig/camelcrusher/camelphat/devastor/bitcrusher etc for distortion - but i also use guitar rig for non-distortion needs; really good sounds on that program. With processing i usually have loads of little effects doing small things then alter them slightly to nuance the sounds - i usually bounce 1, 2 and 4 beat bass hits/riffs then mess around some more til i have loads of samples to play with - that's what i did with this track anyway.therook wrote:Hey jamie!
Sick track man. Very clean and the sub is killer. Any tips or tricks you could give for producing a good bass line (effects, what kind of waveforms, etc) and how to do you about making the 3 different lfo basses? Those sound so sick kinda 16bit ish. Nice work dude!
jamie vista wrote:The other basslines are made on surge - it has loads of wicked waveforms for unique sounds
Thanks for all the info here, man!jamie vista wrote:The main basslines are made with Albino. I probably would have used a mixture of the spectral waveforms and the analog ones. Obviously then i'd assign an lfo to the cut-off filter :O I used mainly band-pass filters but sometimes low-pass and utilized the 3rd type saturation which fills it out. Don't think i did much else in the synth - just some modulation changes and messing with envelopes/filters etc. The main thing with processing is eq'ing - i notch out loads of frequencies (literally loads, can't stress this enough) to clean it up then add guitar rig/camelcrusher/camelphat/devastor/bitcrusher etc for distortion - but i also use guitar rig for non-distortion needs; really good sounds on that program. With processing i usually have loads of little effects doing small things then alter them slightly to nuance the sounds - i usually bounce 1, 2 and 4 beat bass hits/riffs then mess around some more til i have loads of samples to play with - that's what i did with this track anyway.therook wrote:Hey jamie!
Sick track man. Very clean and the sub is killer. Any tips or tricks you could give for producing a good bass line (effects, what kind of waveforms, etc) and how to do you about making the 3 different lfo basses? Those sound so sick kinda 16bit ish. Nice work dude!
The other basslines are made on surge - it has loads of wicked waveforms for unique sounds (some sound distorted/bitcrushed on their own) and also a lot of modulation capability, much like albino.
The reeses are done on Phaedra which is a really powerful analog audio engine with some dutt sounds - only thing is they have to be really tamed; lots of eq'ing once again.
Hope that helps.
The vocals were from one of presence known's weird documentaries. Then we just pitched it down and added some chorus, reverb, delay, a lot of eq and some limiting/saturation to make it loud. The hardest thing was choosing the right vocal - me and presence known often argued about them lol. The dinosaur thing is actually sampled from Terminator 3; it's a woman screaming but pitched down then with a bit of reverb n eq'ing - i find layering your basslines with random effects from films/games/sample packs can really bring it to life so i do this often.ruckus49 wrote:what did you do for the vocals (i guessing that bassy dinosaur sounding thing at the drop is that vocal sample w/ processing)?
I use a lot of panning in my tracks but normally it just comes naturally. I don't have any rules i follow - just use my ears and do it as i go along.ruckus49 wrote:what was your process for the stereo imaging?
ruckus49 wrote:when you mean you notched out loads of frequencies, what were you listening for to make it sound cleaner?
Most of my dark tracks are influenced by movie soundtracks - the likes of zimmer, silvestri. I've got a library full of these sort of sounds which i can draw for when i'm feeling creative. This tune we made deliberately not too atmospheric so it's easier to mix but rather ironically it has triplet quantisation in the first 16 bars so it's still a little tricky. I used to love writing atmospheric, orchestral pieces - but i've grown a bit tired of them myself in recent times so trying to move away from that sound.ruckus49 wrote:were you influenced by movie trailer sound effects for this track?
The main eq'ing is done before bouncing. I have one band for sub and one band for mids/highs but quite often i split it into 3 bands (one sub, one mids, one highs) but that depends on the sound you're going for.therook wrote:Jamie thanks so much for the info! I have a couple of more questions for you
1. Do you bounce your basses made (in albino for example) to wav files and then eq them separately?
I only ever use parametric eqs; perfect for notching.therook wrote:2. You can use a regular eq to notch freq's right?
I have seperate project files just for one bassline so i knock them on seperate channels; offers more flexibility that way but using a send can work just fine if you're trying to save cpu.therook wrote:3. Distortion on sends or directly on tracks?
jamie vista wrote:Most of my dark tracks are influenced by teradactyl porn
Libel! I know that's not a direct quote because i would've spelt pteradactyl correctly - i type it in every sunday morning on youporn so i would know.presence known wrote:jamie vista wrote:Most of my dark tracks are influenced by teradactyl porn
For this track we probably took more influence from our peers, just people we trade tunes with within the scene. Then obviously some of the dnb guys like Noisia etc. I know that's probably not a popular answer and people will say that you should take influence from outside the scene and that self-referencing leads to stagnation blah blah blah but me and scott (PK) were writing for a label so we just wanted to execute something that went with the vibe but also sounded like us.WeedKeepa wrote:Wow nice, can't wait wait to hear more from you. I just have a quick question:
Which producers do you find are most influential to your work?