The Official Growl Bass Thread

[Eskimo]

Even the saw waves sound different in 3xosc, while massives sound kinda fake if you get what I mean, it's like asking why people use hardware synths instead of software synths, 3xosc is really simple and for reeses I find it really good, even if it needs some proper processing, anyway dude, dont worry about others too much, what works for one might not work for another!

[Maxxan]

Even the saw waves sound different in 3xosc, while massives sound kinda fake if you get what I mean, it's like asking why people use hardware synths instead of software synths, 3xosc is really simple and for reeses I find it really good, even if it needs some proper processing, anyway dude, dont worry about others too much, what works for one might not work for another!

Yeah, I don't like the massive saw waves either I just used it as an example. But that's what I was wondering, if people actually think it sounds better. So I guess that sort of answers my question.

[nanocloud]

I use 3xOSC for Reese's because I just wind up with a cleaner sound in the end honestly! My massive reeses always get too sloppy because I get distracted by all the options and wind up doing way too much to it. And I don't have the best hardware so if I can use a simpler synth for something I will, you know? I don't need a tractor trailer to go to my friends house, I just need a bike, if you know what I mean.

As far as that synesthesia stuff, hahasorry, didn't mean to confuse you guys. With that growl I think it's honestly just in TE timbre of the patch.

[sunny_b_uk]

yeah 3xosc is brilliant for making reeses.
i love stacking a bunch of 3xosc using "layer" and then crossfade between them all so its like using a wavetable synth with 0% cpu. reason why i like this method is you can send each 3xosc to different channels with a few FX, buss them back and get complex sounds without having a long FX chain.
my new tune has growls made with 3xosc, heavy use of fruity waveshaper and EQ automating:
Soundcloud

[mthrfnk]

The question is really why not, if you can - why limit yourself?

I've made some cool things in it, I use it sometimes to make precursor sounds that I then put through resampling or granulizing processes.

Well, Massive, for instance, can do everything 3xOsc can do and more, so why not use that? What does 3xOsc have that every other synth doesn't? It feels like a hipster thing that people use just to be different while they could be using a more capable synth. If it sounds better or has some unique feature or whatever I get it but it doesn't. I don't see the point. I mean if it works for you, sure, but I'd like to know what the argument is for NOT opening Sylenth or whatever and instead reaching for 3xOsc. If there is any.

OT: I don't use drum samples, I just turn on the mic on my Nokia 3310 and then record myself slapping it around with my dick for a bit and use that for percussion.

It's not a case of being a hipster, it's a case of being a smart producer and using what you have to do different things. For one thing some people only have stuff like 3xOSC and don't other synths either through lack of money or not wanting to pirate it heh... Other than that what's the argument for not using 3xOSC? It's quick and easy to use to make sounds with, but like I said it's about being a smart producer and using stuff where you need to.

Personally I dislike some of the sounds in Massive, they can become very digital and metallic. However I also love a lot of the stuff I make with it - it has strengths and weaknesses like all syths and I know when to use Massive and when to use 3xOSC and when to Sylenth etc.... For me each synth has different qualities and I like to mix and match, one thing I hate is tracks where you can just tell all of the blaring midrange has been made with a single synth and host of similar patches, using different synths can liven it up a little and give some life to the track...

Like I said I use 3xOSC sometimes to make precursor sounds before mangling them in other ways, I don't need to use Massive to do this tbf since I'm creating sounds by processing rather than synthesis. I also use it for risers because I like how easy it is to create sounds like that quickly - I don't want to be spending 15 minutes in Massive making a riser for example. What I'm not saying is that I use, or recommend, using 3xOSC for everything and never getting/using other synths.

Even the saw waves sound different in 3xosc, while massives sound kinda fake if you get what I mean, it's like asking why people use hardware synths instead of software synths, 3xosc is really simple and for reeses I find it really good, even if it needs some proper processing, anyway dude, dont worry about others too much, what works for one might not work for another!

I understand what you mean - a lot of the sounds in Massive can sound very harsh and digitalised.

I think it may come down to the fact that all the sounds are based on wavetables whereas 3xOSC actually generates the waveforms.

yeah 3xosc is brilliant for making reeses.
i love stacking a bunch of 3xosc using "layer" and then crossfade between them all so its like using a wavetable synth with 0% cpu. reason why i like this method is you can send each 3xosc to different channels with a few FX, buss them back and get complex sounds without having a long FX chain.
my new tune has growls made with 3xosc, heavy use of fruity waveshaper and EQ automating:
Soundcloud

Very very nice man, would definitely be interested in your waveshaper settings (I suck at using it) and what sort of peaks/notches your sweeping in your EQ.

I'm waiting to hear this growl, it'll leave ever growl known to man in its dust, when it's finally been released... starts at about 0.29 - Gonna be nasty as fuck when it's released let me know if any of you have any ideas how its made if you can.. my guess is FM8

The quality on this is terrible but I wouldn't rule out Massive or Sylenth being used.

[mromgwtf]

yeah 3xosc is brilliant for making reeses.
i love stacking a bunch of 3xosc using "layer" and then crossfade between them all so its like using a wavetable synth with 0% cpu. reason why i like this method is you can send each 3xosc to different channels with a few FX, buss them back and get complex sounds without having a long FX chain.
my new tune has growls made with 3xosc, heavy use of fruity waveshaper and EQ automating:
Soundcloud

Wow, that's great.
Can you post a simple example flp of what are you doing here? (layering, crossfading and stuff?)

[Augment]

you all have forgotten to mention the ability to import custom waves into 3xosc.. that alone makes it capable of alooot

[mthrfnk]

you all have forgotten to mention the ability to import custom waves into 3xosc.. that alone makes it capable of alooot

I didn't even know you could haha

[Maxxan]

Fair points everyone, thanks for the replies. I realize I might have been coming across like I think you shouldn't be using 3xOsc which wasn't my intention, I was genuinely interested in what you thought were it's advantages since I'd like to broaden my horizons. Those are some impressive sounds btw Sunny B, wouldn't have guessed that.

Big ups dudes.

[Eridu]

you all have forgotten to mention the ability to import custom waves into 3xosc.. that alone makes it capable of alooot

like the idea of importing modern talking in sytrus? I just mentioned modern talking cause I know people cringe when you mention it here.

[mromgwtf]

you all have forgotten to mention the ability to import custom waves into 3xosc.. that alone makes it capable of alooot

like the idea of importing modern talking in sytrus? I just mentioned modern talking cause I know people cringe when you mention it here.

*3xosc

[amc336]

I made a track with some growls using fm8. Check it out:
http://play.beatport.com/contests/lazy- ... 0ec1bd574b#

Or Soundcloud

[enjarcher]

A snippet from a WIP I'm working on, experimenting with some Feed Me style stuff. One thing I'm having a hard time doing is making the overall modulation controlled and a bit more rhythmic, cause at the moment its a bit all over the place and hit and miss. But the timbre is there. Please tell me what you think!

http://soundcloud.com/proj14/wip/s-L9Dg7

[nanocloud]

Lol gave it the quickest try ever.

https://soundcloud.com/frostbyte-aptget ... e-bass-lol

[Maxxan]

A snippet from a WIP I'm working on, experimenting with some Feed Me style stuff. One thing I'm having a hard time doing is making the overall modulation controlled and a bit more rhythmic, cause at the moment its a bit all over the place and hit and miss. But the timbre is there. Please tell me what you think!

http://soundcloud.com/proj14/wip/s-L9Dg7

That sounds great man. The one at 0:03 is awesome.

[enjarcher]

A snippet from a WIP I'm working on, experimenting with some Feed Me style stuff. One thing I'm having a hard time doing is making the overall modulation controlled and a bit more rhythmic, cause at the moment its a bit all over the place and hit and miss. But the timbre is there. Please tell me what you think!

http://soundcloud.com/proj14/wip/s-L9Dg7

That sounds great man. The one at 0:03 is awesome.

Thanks, yeah I thought that one turned out the best too. It's all basically just Massive with Scrapyard on Bend +/- (and a little bit of tape hiss to add some high end) through two parallel bandpass filters, shapers after both, then classic tube, dimension expander and turning up high shelf and low shelf on the EQ. Then I modulated wt position, intensity, and cutoffs with two lfos on "bending" waveforms. Oh yeah, and a little bit of bypass from the first oscillator just so the sound doesn't disappear at parts.

Outside of Massive, just fattened it up with a couple of Ableton saturators, iZotope Ozone, and a flanger, then limited after everything.

But yeah, the problem I'm having when modulating everything with a couple of LFOs is that the modulation's not very controlled. Any suggestions? I've tried using a performer but can't figure out a way to set up the modulation so that the change sounds 'logical' and controlled if that makes any sense.

[Maxxan]

Interesting, I've actually never had much success with bandpass filters. Usually takes away too much, either low or high end for me.

I usually stay away from both LFO:s and performer because I think it sounds a little too rigid, I actually automate all my modulation by hand, either by recording myself turning knobs/with the mouse or by drawing in envelopes. Check out the growls in the tunes in my sig if you like, got some talky bits in there. It can seem a little tedious at first but once you get some cool phrasing going it's actually a lot of fun, you just gotta take it one bit at a time.

[mthrfnk]

I second that - I modulate/automate everything manually, that way you can get the things you have going on with your synth (i.e. Filter sweeps or wavetable positions) to link well with stuff you have going on externally (i.e. flangers or vowel filters), I find that way when stuff interplays you get a better sound and are not limited to using ratios or certain LFO/Performer rates and shapes.

[enjarcher]

I second that - I modulate/automate everything manually, that way you can get the things you have going on with your synth (i.e. Filter sweeps or wavetable positions) to link well with stuff you have going on externally (i.e. flangers or vowel filters), I find that way when stuff interplays you get a better sound and are not limited to using ratios or certain LFO/Performer rates and shapes.

Cheers for the advice! Tried automating a couple of macros instead, and works much better.

[mthrfnk]

I second that - I modulate/automate everything manually, that way you can get the things you have going on with your synth (i.e. Filter sweeps or wavetable positions) to link well with stuff you have going on externally (i.e. flangers or vowel filters), I find that way when stuff interplays you get a better sound and are not limited to using ratios or certain LFO/Performer rates and shapes.

Cheers for the advice! Tried automating a couple of macros instead, and works much better.

Np, like you said mapping macro's is really useful in Massive, especially if you link 2 or more things to the same knob but have them controlled inversely (e.g. turning Macro 2 turns the wavetable pos. clockwise whilst also turning the filter cutoff anticlockwise)