Getting the womps to sound PERFECT

-[2]DAY_- · Post by **-[2]DAY_-** » Sun Sep 25, 2011 2:54 am

um, an envelope makes a "womp" sound... just bounce and put in any sampler. some have better filters than others. but the mixdown is more memorable than the exact coloration of the womping filter in question

axolotl-dubstep · Post by **axolotl-dubstep** » Sun Sep 25, 2011 5:22 am

Forgot Lfo's exist and control your womp with envelopes, waaaay more control man.

xrylex · Post by **xrylex** » Sun Sep 25, 2011 1:28 pm

wtf is with every anti-brostepper having a hissy fit when they hear the name skrillex even mentioned

yes we all get it, you are too cool to like skrillex.

as for the OP quest for perfect wompage...
FM8 has SICK envelopes, plus a much steeper learning curve than massive... so here are my (ableton specific) suggestions for you.

while you are learning FM8 and how to use its envelopes... use Operator (way easier to learn, way simpler LFO/filter programming) and/or use Simpler/Sampler for modulating bounced audio. several of the "pros" are utilizing the shit out of the filter capabilities in Sampler... Kontakt has also been the sampler of choice for bass music for quite a few years, and also has sick LFO/envelope action in it.. personally i feel like Sampler is an easier device to learn, but Kontakt is a Native Instruments product and if you are super comfortable with Massive and want something that feels similar, then Kontact might be a solid solution if you want to go the bouncing to audio THEN modulating shit type of route.

just like axolotl-dubstep just said, for womp sounds, fuck LFOs, envelops are going to give you the tight control you want plus a ton of room to be creative.

and ps for the record, skrilly is doing his wobble LFO modulations inside FM8/operator and using Sampler for resampled growl/womp sounds (which is why all of his envelopes sound perfect)

hasezwei · Post by **hasezwei** » Sun Sep 25, 2011 1:48 pm

xrylex wrote:wtf is with every anti-brostepper having a hissy fit when they hear the name skrillex even mentioned
yes we all get it, you are too cool to like skrillex.

dude, that's just ignorant.
you know it's not about that.

xrylex · Post by **xrylex** » Sun Sep 25, 2011 2:49 pm

no i dont know what its about then.. because it seems to that its just the cool thing for the "real" dubstep producers to talk shit about.
just like how everyone on DOA used to talk non stop shit about pendulum and their snares and synths.

yes its annoying to have a million questions about how to sound like skrillex...
but blaming him for having a million kids dying to know how he makes his sounds? is he at fault for that??

sonny is literally one of the nicest people ive ever met. i known him for a few years and he is the exact same person he is now as before he blew up... regardless of if you dig his tunes or not, anyone that has the ability to be open minded and that appreciates well produced tunes has to admit that he is doing something creative, has busted his ass on his sound design, his tracks smash dancefloors, and his success is helping to blow open the doors of possibility and create the potential for bass music to become a phenomenon like nothing we have seen in electronic music.

yet all i hear is snippy little comments on the internet crucifying him for expressing what is in his heart and having the world respond to his music...
its really starting to irritate me because he doesnt deserve any of that bullshit. i dont know a single person that knows him that has ever said a single bad word about him...

if you spent 5 mins talking to him, you would take back every little negative comment you have ever said, and you would feel guilty for ever even thinking it.

ChadDub · Post by **ChadDub** » Sun Sep 25, 2011 3:02 pm

Exactly how I feel about anything to do with insulting any mainstream artist. Good job.

komanderkin · Post by **komanderkin** » Sun Sep 25, 2011 3:46 pm

OP might want to check out TAL-Filter-II

out of curiosity, is a womp a wob?

hasezwei · Post by **hasezwei** » Sun Sep 25, 2011 3:51 pm

xrylex wrote:no i dont know what its about then.. because it seems to that its just the cool thing for the "real" dubstep producers to talk shit about.
just like how everyone on DOA used to talk non stop shit about pendulum and their snares and synths.

yes its annoying to have a million questions about how to sound like skrillex...
but blaming him for having a million kids dying to know how he makes his sounds? is he at fault for that??

sonny is literally one of the nicest people ive ever met. i known him for a few years and he is the exact same person he is now as before he blew up... regardless of if you dig his tunes or not, anyone that has the ability to be open minded and that appreciates well produced tunes has to admit that he is doing something creative, has busted his ass on his sound design, his tracks smash dancefloors, and his success is helping to blow open the doors of possibility and create the potential for bass music to become a phenomenon like nothing we have seen in electronic music.

yet all i hear is snippy little comments on the internet crucifying him for expressing what is in his heart and having the world respond to his music...
its really starting to irritate me because he doesnt deserve any of that bullshit. i dont know a single person that knows him that has ever said a single bad word about him...

if you spent 5 mins talking to him, you would take back every little negative comment you have ever said, and you would feel guilty for ever even thinking it.

why do you think it's personal? i don't care who he is, if he's a nice person (which i don't even doubt) or anything. hell, i don't mind some of his music either, especially his older stuff.

what i do mind however is what he represents. he is the incarnation of dubstep in it's current form, which is the exact opposite of what i and many many others love or used to love.

you see, i remember when the "biggest" dubstep artist was burial. a guy who insisted so much on staying anonymous that he wouldn't even accept an NME music award. because he said it's just about the music, it's about a certain feeling.
i remember when dubstep was the amalgamation of countless cultural influences, from africa to asia to south america, from hiphop and soul to acid techno, from sleek and sexy to heavy, hard and unbelieveably dark.
i remember when hearing dubstep in a club meant few to no lights, everyone doing their own thing, a kind of meditative state in which you can completely forget who you are, be one with the music. people around you but you don't even notice them.

the "dubstep" that skrillex spearheads, represents, and without doubt rules, is devoid of all that. it's an amalgamation of styles, yes. but only club music that's proven to be popular, iE house, trance, dnb, "electro" and brostep. i don't see any real cultural influences in there bar the odd tune that samples cliché "world music".
dubstep now is about fame, it's about fandom. the producers have become rockstars rather than that guy who makes tunes who could be someone you know. the listeners look up to the producers in a way that's similar to fans of celebrities, an explanation for the near religious fervor fans of controversial artists have when it comes to defending them in arguments.
dubstep as a club experience is now dominated by flashing bright lights, be it strobes or cameras. body contact is inevitable, be it bros moshing or girls grinding against you. everyone is watching everyone, it's a sick panopticon in which image counts. it's not a safehaven from the overly fast and interconnected reality of daily life, it's an even more intense version of it. the logical conclusion. it's sonic intensity is comparable to the brain-shattering torrent of information unleashed on us through the channels of web 2.0, too much to handle at once.

i hope you understand it now when i "hate on" skrillex. i just want him and by extension the society/generation he represents to leave me and the music/scene i love alone.

ChadDub · Post by **ChadDub** » Sun Sep 25, 2011 4:06 pm

Yeah, I wish minimal music would make it big like maximal music, but people just don't have the attention span for that. If you're listening to minimal music, you need your own thoughts to put into what the song means to you and why, and you just have to think to yourself about life, which most people can't because they just aren't used to having a mind to themselves. With maximal music like Skrillex, you don't have to ponder the meaning of life, the meaning of your life, you just have to brock out and enjoy the party.

Neither are better than eachother, it's just two different mindsets, one being more prominent.

hasezwei · Post by **hasezwei** » Sun Sep 25, 2011 4:33 pm

ChadDub wrote:Yeah, I wish minimal music would make it big like maximal music, but people just don't have the attention span for that. If you're listening to minimal music, you need your own thoughts to put into what the song means to you and why, and you just have to think to yourself about life, which most people can't because they just aren't used to having a mind to themselves. With maximal music like Skrillex, you don't have to ponder the meaning of life, the meaning of your life, you just have to brock out and enjoy the party.

Neither are better than eachother, it's just two different mindsets, one being more prominent.

this ain't about minimal or maximal.

this isn't minimal.

this isn't minimal.

but i am 100% sure THEY wouldn't enjoy it.

and i am 100% sure i wouldn't enjoy a rave with people like them around, where i get strange looks because i simply don't give a fuck about how i dress when i go to a club, where am "the weirdo" because i simply don't want to hook up with some cheap slut or take mdma or coke or take fucking pictures of me and my friends every 5 minutes, where they think i'm a "hater" because i don't want to fucking cheer at the dj like he's some sort of demigod. where it's filled to the brim and you'll probably need 10 minutes at the bar to get a drink, where the concept of personal space doesn't exist.

i just wanna enjoy the music, dance, drink beer, meet cool people, maybe have a short discussion and a spliff outside then go back in to skank some more or just soak up the bass in a corner. no matter whether the dj plays an aggy tune, a meditative one, something funky or weird kaleidoscopic laser music.

ChadDub · Post by **ChadDub** » Sun Sep 25, 2011 4:54 pm

Mmm, I always thought I was weird because I never was the cheering type of guy. I never cheer for bands I go see or anything, I just watch and listen. But I guess it's a bit normal since you do that too.

I get what you're saying, but I enjoy both ends. That's probably because I enjoy both ends of the music as well.

scubacell · Post by **scubacell** » Sun Sep 25, 2011 5:12 pm

hasezwei wrote: and i am 100% sure i wouldn't enjoy a rave with people like them around, where i get strange looks because i simply don't give a fuck about how i dress when i go to a club, where am "the weirdo" because i simply don't want to hook up with some cheap slut or take mdma or coke or take fucking pictures of me and my friends every 5 minutes, where they think i'm a "hater" because i don't want to fucking cheer at the dj like he's some sort of demigod. where it's filled to the brim and you'll probably need 10 minutes at the bar to get a drink, where the concept of personal space doesn't exist.

i just wanna enjoy the music, dance, drink beer, meet cool people, maybe have a short discussion and a spliff outside then go back in to skank some more or just soak up the bass in a corner. no matter whether the dj plays an aggy tune, a meditative one, something funky or weird kaleidoscopic laser music.

holy shit hit the nail right on the head with that statement man

anyways OP if you're looking to be lazy why don't you pump out a decent bassline, sans wobble (i say wobble as opposed to LFO because you may still want LFO's in your sound that are for other movement in your sound), and then pop a camelphat on it. it's a great VST with some distortion effects, a virtual xy pad, flanger, filters, etc., but more importantly for your purposes the LFO's are extremely easy to route and automate. you can route lfo's to almost every knob in the vst through a dropdown and has some very interesting lfo rate variations. of course not everything is perfect, i wish it had more shapes for the LFO's waveforms, and could do with more LFO's (limited to 2 per instance of camelphat) or at least a way to route multiple knobs to one LFO. for your purposes though, i think this may be something worth looking into.

kingGhost · Post by **kingGhost** » Sun Sep 25, 2011 5:16 pm

when i opened this thread i already knew the plot. mods need to implement a filter on the S-word. big up haze tho, fuck PLUR retards.

-[2]DAY_- · Post by **-[2]DAY_-** » Sun Sep 25, 2011 5:36 pm

if youre hating on people who bash Skr--- , take your own advice and just ignore that attitude, no?

OP, resample. lol

ShapeSHIFT · Post by **ShapeSHIFT** » Sun Sep 25, 2011 5:57 pm

Have you tried turning on the snap in Love Philter and setting loop points? It doesn't get easier than that.

Insahn · Post by **Insahn** » Sun Sep 25, 2011 6:18 pm

hasezwei wrote: it's a sick panopticon

As someone who deeply appreciates the English language, I would like to personally thank you for the word of the day.

narcissus · Post by **narcissus** » Sun Sep 25, 2011 6:59 pm

all praise to hasezwei for saying it, so that I don't need to. major props.

i think it's kind of funny.. berating us for having hissy fits over skrillex.. then having a hissy fit to defend skrillex's honor. just lol.

sargentpilcher · Post by **sargentpilcher** » Sun Sep 25, 2011 9:22 pm

xrylex wrote:wtf is with every anti-brostepper having a hissy fit when they hear the name skrillex even mentioned
yes we all get it, you are too cool to like skrillex.

as for the OP quest for perfect wompage...
FM8 has SICK envelopes, plus a much steeper learning curve than massive... so here are my (ableton specific) suggestions for you.

while you are learning FM8 and how to use its envelopes... use Operator (way easier to learn, way simpler LFO/filter programming) and/or use Simpler/Sampler for modulating bounced audio. several of the "pros" are utilizing the shit out of the filter capabilities in Sampler... Kontakt has also been the sampler of choice for bass music for quite a few years, and also has sick LFO/envelope action in it.. personally i feel like Sampler is an easier device to learn, but Kontakt is a Native Instruments product and if you are super comfortable with Massive and want something that feels similar, then Kontact might be a solid solution if you want to go the bouncing to audio THEN modulating shit type of route.

just like axolotl-dubstep just said, for womp sounds, fuck LFOs, envelops are going to give you the tight control you want plus a ton of room to be creative.

and ps for the record, skrilly is doing his wobble LFO modulations inside FM8/operator and using Sampler for resampled growl/womp sounds (which is why all of his envelopes sound perfect)

axolotl-dubstep wrote:Forgot Lfo's exist and control your womp with envelopes, waaaay more control man.

Can I ask what you guys mean by envelopes? My typical understanding of an envelope is on a synth with the ADSR envelopes. Are you guys talking about hand crafting womps through automation? That's what I assume you mean anyways. I think that's probably what I'll do from now on, and when I'm feeling lazy I'll resample and mess around with ableton's sampler LFO. I am not sure, but I assume the reason it sounds better is because in something like massive, and FM8, you create a sound like like, apply the filter to an LFO, and THEN add tons of distortion and effects, which IMO decreases the impact of the original filter. I think if you put the filter as the last in the chain, or one of the last, it would sound better (Just a theory).

komanderkin wrote:OP might want to check out TAL-Filter-II

out of curiosity, is a womp a wob?

Thank you man! Is is seriousl, an AWESOME plugin. I can't say I'll use it exclusively, but I seriously cannot believe something like this isn't more popular. Dubstep has been around for years, and especially with its recent popularity, I can't believe it's taken them this long to get something like this out there.

scubacell wrote:
anyways OP if you're looking to be lazy why don't you pump out a decent bassline, sans wobble (i say wobble as opposed to LFO because you may still want LFO's in your sound that are for other movement in your sound), and then pop a camelphat on it. it's a great VST with some distortion effects, a virtual xy pad, flanger, filters, etc., but more importantly for your purposes the LFO's are extremely easy to route and automate. you can route lfo's to almost every knob in the vst through a dropdown and has some very interesting lfo rate variations. of course not everything is perfect, i wish it had more shapes for the LFO's waveforms, and could do with more LFO's (limited to 2 per instance of camelphat) or at least a way to route multiple knobs to one LFO. for your purposes though, i think this may be something worth looking into.

I have heard nothing but great things about camelphat, so I'm going to have to try it out, although having TAL filter, I think my problem has been mostly solved. I can see some other uses for it though, but camelphat is a paid program I believe, where TAL filter is free! Thank you though for your suggestion!

sargentpilcher · Post by **sargentpilcher** » Sun Sep 25, 2011 9:37 pm

I wanted to post 2 examples. Somebody up there was saying I could could great wobbles out of FM8, but I want to know how? I want to know what I'm doing wrong here. I have 2 examples here of clips I've done in the past. Womp 1, I hand programmed in the automation of a lowpass filter on an EQ. Womp 2 is using the internal LFO's of the synth's. I'm using Massive and Sylenth in womp 1, and massive and FM8 in womp 2. Womp 2 just sounds HORRIBLE to me because the womps are just crappy.

<object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf ... 9"></param> <param name="allowscriptaccess" value="always"></param> <embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf ... 2F24145289" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/thomas-norman/womp-1">Womp 1</a> by <a href="http://soundcloud.com/thomas-norman">Thomas Norman</a></span>

<object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf ... 6"></param> <param name="allowscriptaccess" value="always"></param> <embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf ... 2F24145336" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/thomas-norman/womp-2">Womp 2</a> by <a href="http://soundcloud.com/thomas-norman">Thomas Norman</a></span>

edit: I apparently don't know how to embed soundcloud, so here are links.

http://soundcloud.com/thomas-norman/womp-1

http://soundcloud.com/thomas-norman/womp-2

wub · Post by **wub** » Mon Sep 26, 2011 6:32 am

xrylex wrote:no i dont know what its about then.. because it seems to that its just the cool thing for the "real" dubstep producers to talk shit about.
just like how everyone on DOA used to talk non stop shit about pendulum and their snares and synths.

yes its annoying to have a million questions about how to sound like skrillex...
but blaming him for having a million kids dying to know how he makes his sounds? is he at fault for that??

That's not the case. If it were, there wouldn't be a Skrillex sound design sticky at the top of the board. If anything, I think Production is more forgiving to Skrillex than other parts of DSF.

Getting the womps to sound PERFECT

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