Dubstepforum.com

Hey

not sure what it's called but I wanted to ask about this kind of arranging songs
when sounds cross over each other uh.. maybe I'll show the examples

<iframe src="/forum/video.php?url=http://www.youtube.com/watch?v=eOofWzI3flA" frameborder="0" style="overflow:hidden; height:auto; max-width:540px"></iframe>
0:47
<iframe src="/forum/video.php?url=http://www.youtube.com/watch?v=PE3IslWaB4E" frameborder="0" style="overflow:hidden; height:auto; max-width:540px"></iframe>
from the beginning

What I think is that you have to make every sounds (obviously) and play with the arrangement on playlist?
What is it called and how do you do that? D: I'm so desperate

I'm not sure, but you're asking how to make complextro?



check 10:31 for results, then start the video for explanation

either that, or u're asking for filter automation, which can be done in any daws, you automate one, some, any amount of parameters on the filter in order to get your sound "moving"

for example you automate a lowpass filter from open to closed while your playing one synth, then you reverse the method, so open up the filter when you play your other synth

yeah, something like that!
just wondering if you can get that kind of effect in FL Studio

invictus wrote:yeah, something like that!

Triggering samples? I'm not FL user, so some1 help this guy

Of course this can be done in FL mate, just be prepared for a lot of sound design and arranging. The thing with these kind of tracks is you want to make all the separate elements of the track like the bass sounds and the synths, then arrange them while using really short passages of them. Important to have them work musically, melodically or rhythmically with each other, often with the use of the technique called Q&R, also known as Question & Answer or Question & Response, in which you have multiple sounds working together like they are in a conversation with each other.

The software is not the point here, it's all about the effort the producer behind it is going to put into it.

@ARTFX: so that comes with resampling pretty much, right?
you mean arranging the sounds on playlist in case of FL?
if so.. that's gonna be hell lot of mixing if every sound's gonna have its insert

Another phrase you may have seen, and to which ARTFX is referring, is "call and response." Without it, your track will be awful no matter what basically.

Okay so, one thing that may help you in staying organized is to remember that you can bounce samples after you've applied an FX chain, and probably save yourself a lot of mixer slots.

As a matter of workflow, as well as CPU friendliness, you might find it useful to bounce entire portions of a song by track in the playlist. Once I have a basic structure, I like to mute all but one or two tracks at a time (plus automations) and then reload entire instrument sections as audio clips. I find it easier to just dice up and recombine sounds when they're in audio clip format (as, say, a four minute long wav file) rather than trying to slice up or rewrite patterns. They're different processes in theory and they produce different results. Great thing about FL is you can do things like that and if you keep the original programming in an flp file, you can go back, make changes, re-bounce, and your newer file with audio clips instead of pattern blocks will reflect your alterations.

Another fun thing to do in FL if you bounce big pieces and have long audio clips in your project - using the slice tool, section out a bar somewhere. Make it a unique sample. Load up the Granulizer and draw up a pattern as long as your sliced section. Delete the section, load that sample into the granulizer, and start twisting knobs.

Okay, so I'm kinda starting to understand the complextro thing (now that I actually know what it's called)
So, to sum it up:

1. Lots of sound design
2. Arrangement is the key
3. Resampling helps you out

Right?

If you're going to do call and response, for gods sake bring something to it. So sick of hearing marco/polo level call and response. Laughable.

I know what you mean. Some tasty melodic aspect in call and response can make a track huge, eh?

I heard nothing of interest in the posted tracks

and I read nothing of interest in this post lol ^

invictus wrote:and I read nothing of interest in this post lol ^

so we're in agreeance that there's nothing of interest in this thread?

sorry, this is your thread
I`m being rude
continue

man, it's okay if you don't like these tunes but announcing it in this thread isn't the point

Tbh electric head your being nice, not often does a guy get helped who started another how do I arrange my bassline threads.

nowaysj wrote:If you're going to do call and response, for gods sake bring something to it. So sick of hearing marco/polo level call and response. Laughable.

care to explain what you'd rather like to see? just so i can say "oh come on thats SO marco/polo" when i'm hating on a tune

You durty fuck, you know what I mean.

But, it's like anything really, there is the concept and then there is the practice. Lotta young (not age) producers just execute the concept, without really investing themselves in the practice of the concept. This isn't limited to call and response, every musical/production technique is susceptible to this. It is only the gifted prodigies, baldies, or the occasionally lucky bastards who actually manage to breath (their) life into the techniques they employ.