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stepintomydub wrote:Hi,
For a while now I've wondered how dubstep producers get their stuttering muted-guitar-kinda sound. I've linked three examples of this phenomenon for you to understand what I mean. It would be really helpful to get some tips.
Thank you for now.
I know this sound is pretty common at 1:15, that weird phaser-y kind of in/out sound that Feed Me also uses sometimes in his songs. Can something quickly tell me how to make it...? Much appreciated, thanks!
trifection wrote:I have been trying to get these really filthy basses that p0gman and people like bratkilla, rekoil, and getter have been making. I know there are comb filters involved but i just cant get the right amount of movement and just general sound. I am using reason 5 currently. So I ask you Members of Dubstepforum, point me in the right direction for this style of bass. Not looking for the exact sounds, just the general type. And if you are unfamiliar with the artists
Now if you cant help with those, then my other question would be how would one get sounds similar to that used by Habstrakt and Brown and Gammon. No specific sound in one of there songs, just the style of sound. But for those who are unfamiliar with these artists then this would be a good example of the style since they both have similar sounds. http://www.youtube.com/watch?v=kxCYrLkwiXs
I know this is a repost, but I have looked on the forum and i really cant find the information I'm looking for. Maybe i'm using the wrong words when searching, or maybe i'm not trying hard enough, but I'm gonna post again for the chance someone can explain what is used to make these styles of basses. However, I did resolve my questions about the Brown and Gammon/Habstrakt - esque basses.
LifeOfCows wrote:I know this sound is pretty common at 1:15, that weird phaser-y kind of in/out sound that Feed Me also uses sometimes in his songs. Can something quickly tell me how to make it...?
Sounds like a reese with a gate on it to me.
I also have a question; How to (generally) make a synth with this kind of phased high end, for example like in One Hand clap? http://www.youtube.com/watch?v=7ehzdklv ... .be&t=1m6s
I've gotten good results with this (kind of complex) synth patch in sytrus, but i think it's much easier to achieve than that. I'm only talking about the phased highs here
I used 2 squares both going to output inverted, FM'd by a triangle, on which in the OSC tab i drew a saw shaped envelope downwards towards the 5th (the first far one) marked harmonic, locked the even ones and erased everything else, then i modulated the phase of the triangle and there's a similar sound. However there has to be a more effective, nicer sounding way to do it.
trifection wrote:I know this is a repost, but I have looked on the forum and i really cant find the information I'm looking for. Maybe i'm using the wrong words when searching, or maybe i'm not trying hard enough, but I'm gonna post again for the chance someone can explain what is used to make these styles of basses. However, I did resolve my questions about the Brown and Gammon/Habstrakt - esque basses.
The reason no one seems to be wanting to help is because the info is all over the net, easily acessible. In some thread here in the production board someone has explained how Habstrakts signature sound works in the basics (even though you should develop your own synthesizer design style in my opinion) and even bratkilla himself explained how he makes his basslines. It's all about distortion, and that's obvious from the first second you hear that sound. It's obviously some bass synths with (way too) extreme amounts of distortion, the rest is up to you. It's not easy to understand those basslines because they are very unclear because of the distortion
(P.S.: the habstrakt synth basically was an envelope sweeping upwards on a lowpassfilter, square wave modulated by ringmod, make adjustments as needed)
malloy09 wrote:
ok so this pad sound comes in around 43 seconds. Its so awesome and triumphant. I hear it alot in these sorts of tunes and I was wondering if anyone knew what synth it came from. I'm gunna assume its a preset since I hear it in so many different producers songs and it sounds similar in all their songs.
Basically a supersaw sound with a bit of vibrato, bandpassed to take out a little of the high and a fair bit of the low.
Open up Massive, get three Pulse-Saw PWM waves and set all knobs to as high as they go in the oscillators, keep one at 0.00 pitch, then tune the other two +/- around 0.20. Then in voicing stick the unisono up, about 4 or 5 should be fine. Pitch cutoff to about halfway, little less maybe, pan position about the same, and in the Osc menu put the vibrato depth up a bit with quite a fast rate. I use a daft filter for the first filter and highpass for the second, daft at about 3 o'clock cutoff, highpass about 10/11 o'clock.
Lastly add chorus, dry/wet at 9 o'clock, rate just above that, offset 9 o'clock, depth 1 o'clock. Reverb dry/wet 10 o'clock, size 2 o'clock, density and colour full. Boost everything in EQ to about 2 o'clock. You could also add some bright noise in the noise section, adds a little air with colour at full. Let me know how you get on.
trifection wrote:I know this is a repost, but I have looked on the forum and i really cant find the information I'm looking for. Maybe i'm using the wrong words when searching, or maybe i'm not trying hard enough, but I'm gonna post again for the chance someone can explain what is used to make these styles of basses. However, I did resolve my questions about the Brown and Gammon/Habstrakt - esque basses.
The reason no one seems to be wanting to help is because the info is all over the net, easily acessible. In some thread here in the production board someone has explained how Habstrakts signature sound works in the basics (even though you should develop your own synthesizer design style in my opinion) and even bratkilla himself explained how he makes his basslines. It's all about distortion, and that's obvious from the first second you hear that sound. It's obviously some bass synths with (way too) extreme amounts of distortion, the rest is up to you. It's not easy to understand those basslines because they are very unclear because of the distortion
(P.S.: the habstrakt synth basically was an envelope sweeping upwards on a lowpassfilter, square wave modulated by ringmod, make adjustments as needed)
Thanks for at least answering me, I know that its based around the distortion, the post was mainly to see how other people have experimented getting that style and see their results. I guess I should have worded it better suited to what I was asking for. To be frank, I didn't right the post in the right mindset at the time. And I said I resolved my questions about the brown and gammon habstrakt esque stuff. I played around for a couple more hours and finally got something i liked similar to that of his style. But thanks. Ill try more distortion this time haha.
How would I go about getting house style stabs like in Route 94 - Fire (http://www.youtube.com/watch?v=8cjyd5hmkNk).
Been experimenting with Massive but not really sounding how I want.
Is sampling the way to go or are there any go to VST that will assist me in achieving a nice house-y stab.
Thanks.
You probably wanna be using Massive for that one. You can hear an automated macro that's 'opening up' the sound, I'm guessing he has a macro control assigned to the all/either/some of the following: intensity/WT-pos on the waveforms (for brightness), a LP-filter (cutoff and/or reso), EQ (Hi), release on the master envelope, maybe even a bitcrusher or some distortion to make it even brighter, and then he just turns it up gradually throughout the intro.
The rest of the sound is your standard pluck sound, put an envelope on eitheir a bandpass/lp-filter or just the amp and adjust the attack and decay so it sounds plucked. Try some different waveforms, anything goes as long as it sounds good. You could try mixing between saws and squares until you have a sound that's warm and not too 'sawy' for your taste. Try bringing one down an octave for a bigger sound. Also try some chorus, reverb, dimension expanders and stuff. Just don't overdo it so it doens't sound natural. Also, keep in mind that when it comes to these sounds they'll sound so much better with some other stuff going on. If you're thinking it doesn't sound full enough compared to his track, add some pads and ambience and you'll notice your pluck instantly sounds much better.
You're right that it's a simple sound, there's no secret advanced technique to it. But it still takes skill to make it sound as good as he does. Sometimes the simple sounds are the hardest.
Edit: Oh yeah, forgot what I was gonna post at first:
Maxxan wrote:You probably wanna be using Massive for that one. You can hear an automated macro that's 'opening up' the sound, I'm guessing he has a macro control assigned to the all/either/some of the following: intensity/WT-pos on the waveforms (for brightness), a LP-filter (cutoff and/or reso), EQ (Hi), release on the master envelope, maybe even a bitcrusher or some distortion to make it even brighter, and then he just turns it up gradually throughout the intro.
The rest of the sound is your standard pluck sound, put an envelope on eitheir a bandpass/lp-filter or just the amp and adjust the attack and decay so it sounds plucked. Try some different waveforms, anything goes as long as it sounds good. You could try mixing between saws and squares until you have a sound that's warm and not too 'sawy' for your taste. Try bringing one down an octave for a bigger sound. Also try some chorus, reverb, dimension expanders and stuff. Just don't overdo it so it doens't sound natural. Also, keep in mind that when it comes to these sounds they'll sound so much better with some other stuff going on. If you're thinking it doesn't sound full enough compared to his track, add some pads and ambience and you'll notice your pluck instantly sounds much better.
You're right that it's a simple sound, there's no secret advanced technique to it. But it still takes skill to make it sound as good as he does. Sometimes the simple sounds are the hardest.
Edit: Oh yeah, forgot what I was gonna post at first:
I'm trying to replicate this lead synth you can hear at 00:50sec in Darklight IIx's promotional video :
How do they make this kind of glitchy, staccato, fast and harsh modulated envelope?
I presume it's some kind of fast gate or ramp lfo but i doesn't seem to work when i attempt to recreate this sound. It's not the first time i hear it in dubstep but i have no other exemples in mind right now, i guess it's a pretty common modulation. Anyone knows the trick?
