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I think the scene in EDM will be this wet kind of bass stuff. Like Sure_fire was saying his stuffs been like that but now also getter, and protohype.

YeahItsMe wrote:
The hate you guys bring is why I barely come here anymore. For every 1 creative & helpful comment, there are 5 hateful/asshole comments.Iif you don't want to talk good about it stop wasting space so the people who are interested can talk without interruption. You guys can hate allll you want; but look at how big Skrillex, Excision, Datsik, & Zomboy have gotten!

DO WHAT YOU WANT, cause that's what I and te rest of us open-minded people will do

Yeah i'll DO WHAT I WANT and i want is to tell you to fuck off

Sure_Fire wrote:A lot of his stuff lately has revolved around really wet sounding patches with a lot of filtering. And hard synths, let's not forget those. Here's my best mind control impression, try to ignore the shit mixdown: Soundcloud

It's really not that hard to replicate, mostly digigrain 2, scrapyard and crude wavetables with some distortion and a double notch filter.

Mixdown wasn't too bad bro. It did remind me quite a bit of Mind Control (better than the other guys post; NO OFFENSE). That growl sounds nice and I only heard it on my iPhone so stereo is hard to hear and I only heard above 150-200Hz... My only question is did you add some stereo width?, cause that's another huge part of these big bass growls.

How did you make the actual growling part though, it sounds very consistent? Ie: envelopes/lfo/etc. I know you said scrapyard, crude, & digigrain 2 with distortion & notch filter.

Did you use distortion & filter in massive or as an effects chain after massive?
Ie: Envelope/lfo/performer.

Appreciate it Surefire!

YeahItsMe wrote:

Sure_Fire wrote:A lot of his stuff lately has revolved around really wet sounding patches with a lot of filtering. And hard synths, let's not forget those. Here's my best mind control impression, try to ignore the shit mixdown: Soundcloud

It's really not that hard to replicate, mostly digigrain 2, scrapyard and crude wavetables with some distortion and a double notch filter.

Mixdown wasn't too bad bro. It did remind me quite a bit of Mind Control (better than the other guys post; NO OFFENSE). That growl sounds nice and I only heard it on my iPhone so stereo is hard to hear and I only heard above 150-200Hz... My only question is did you add some stereo width?, cause that's another huge part of these big bass growls.

How did you make the actual growling part though, it sounds very consistent? Ie: envelopes/lfo/etc. I know you said scrapyard, crude, & digigrain 2 with distortion & notch filter.

Did you use distortion & filter in massive or as an effects chain after massive?
Ie: Envelope/lfo/performer.

Appreciate it Surefire!

Stereo width is a bit finicky with these types of basses, I added a little bit with ozone's stereo shaper since it's multiband and you go easy on the lows and pump the mids/highs into stereo. Modulation was all done via automation clips in FL, I just copied and pasted various bits for consistency. There may have been a second macro for variation in there, can't remember. The main auto clip had a notch/low pass macro from massive and a high pass in the FX chain linked to it, I also used ohmicide for the distortion. Also in the chain was saturation, eq and reverb. That's about it, I don't actually have the file with the midi mapped out in it, I sampled out the growls and never saved the flp unfortunately.

Hope that helps!

Cool. I've been trying to step up my growl game.

Thanks for the tips

Sure_Fire wrote:

YeahItsMe wrote:

Sure_Fire wrote:A lot of his stuff lately has revolved around really wet sounding patches with a lot of filtering. And hard synths, let's not forget those. Here's my best mind control impression, try to ignore the shit mixdown: Soundcloud

It's really not that hard to replicate, mostly digigrain 2, scrapyard and crude wavetables with some distortion and a double notch filter.

Mixdown wasn't too bad bro. It did remind me quite a bit of Mind Control (better than the other guys post; NO OFFENSE). That growl sounds nice and I only heard it on my iPhone so stereo is hard to hear and I only heard above 150-200Hz... My only question is did you add some stereo width?, cause that's another huge part of these big bass growls.

How did you make the actual growling part though, it sounds very consistent? Ie: envelopes/lfo/etc. I know you said scrapyard, crude, & digigrain 2 with distortion & notch filter.

Did you use distortion & filter in massive or as an effects chain after massive?
Ie: Envelope/lfo/performer.

Appreciate it Surefire!

Stereo width is a bit finicky with these types of basses, I added a little bit with ozone's stereo shaper since it's multiband and you go easy on the lows and pump the mids/highs into stereo. Modulation was all done via automation clips in FL, I just copied and pasted various bits for consistency. There may have been a second macro for variation in there, can't remember. The main auto clip had a notch/low pass macro from massive and a high pass in the FX chain linked to it, I also used ohmicide for the distortion. Also in the chain was saturation, eq and reverb. That's about it, I don't actually have the file with the midi mapped out in it, I sampled out the growls and never saved the flp unfortunately.

Hope that helps!

Damn, dude, that is a tuuuuune!!!

Question though, I notice a lot of tunes like this have a lot of background noise to fill out and glue the track together during a drop. that sort of noisy 8-bitty arp, how do create/mix that in? I've tried to do something like that, but it always seems to just muddy the track up rather than fill it out.

Sinergy wrote:

Sure_Fire wrote:

YeahItsMe wrote:

Sure_Fire wrote:A lot of his stuff lately has revolved around really wet sounding patches with a lot of filtering. And hard synths, let's not forget those. Here's my best mind control impression, try to ignore the shit mixdown: Soundcloud

It's really not that hard to replicate, mostly digigrain 2, scrapyard and crude wavetables with some distortion and a double notch filter.

Mixdown wasn't too bad bro. It did remind me quite a bit of Mind Control (better than the other guys post; NO OFFENSE). That growl sounds nice and I only heard it on my iPhone so stereo is hard to hear and I only heard above 150-200Hz... My only question is did you add some stereo width?, cause that's another huge part of these big bass growls.

How did you make the actual growling part though, it sounds very consistent? Ie: envelopes/lfo/etc. I know you said scrapyard, crude, & digigrain 2 with distortion & notch filter.

Did you use distortion & filter in massive or as an effects chain after massive?
Ie: Envelope/lfo/performer.

Appreciate it Surefire!

Stereo width is a bit finicky with these types of basses, I added a little bit with ozone's stereo shaper since it's multiband and you go easy on the lows and pump the mids/highs into stereo. Modulation was all done via automation clips in FL, I just copied and pasted various bits for consistency. There may have been a second macro for variation in there, can't remember. The main auto clip had a notch/low pass macro from massive and a high pass in the FX chain linked to it, I also used ohmicide for the distortion. Also in the chain was saturation, eq and reverb. That's about it, I don't actually have the file with the midi mapped out in it, I sampled out the growls and never saved the flp unfortunately.

Hope that helps!

Damn, dude, that is a tuuuuune!!!

Question though, I notice a lot of tunes like this have a lot of background noise to fill out and glue the track together during a drop. that sort of noisy 8-bitty arp, how do create/mix that in? I've tried to do something like that, but it always seems to just muddy the track up rather than fill it out.

Literally just a square wave with a bit of distortion, high pass it then put a tonne of reverb and stereo width on to send it 'behind and around' the mix. Seems to make my tracks seem a lot faster than they really are when I do that.

To be honest, I think he just uses Super Dooper Music Looper.

Some olne should lock this thread. I dont think zomboy has anything to do with dubstep or production.

Sinestepper wrote:Some olne should lock this thread. I dont think zomboy has anything to do with dubstep or production.

Hasen't Zomboy done a Skream with his last ep, he's gone all house/techno/electro whatever.

A mod needs to pop lock and drop this thread

rockonin wrote:

Sinestepper wrote:Some olne should lock this thread. I dont think zomboy has anything to do with dubstep or production.

Hasen't Zomboy done a Skream with his last ep, he's gone all house/techno/electro whatever.

a couple of electro house tracks, a dubstep track and a glitch hop track. While it isn't quite as good as the dead symphonic it's still pretty impressive. People have a go at him for sampling a lot but his composition and arrangement are impressive as hell. Sound design is getting better too, and his mixdowns are insane.

But yeah this thread isn't really helping anyone no more.

Sure_Fire wrote:

rockonin wrote:

Sinestepper wrote:Some olne should lock this thread. I dont think zomboy has anything to do with dubstep or production.

Hasen't Zomboy done a Skream with his last ep, he's gone all house/techno/electro whatever.

a couple of electro house tracks, a dubstep track and a glitch hop track. While it isn't quite as good as the dead symphonic it's still pretty impressive. People have a go at him for sampling a lot but his composition and arrangement are impressive as hell. Sound design is getting better too, and his mixdowns are insane.

But yeah this thread isn't really helping anyone no more.

I was a bit let down with him using a growl sample from some pack, but the ep was nice overall imo

It doesnt matter where his growl came from. I just dont think theres much to be learned from him. Theres much better bro. like i like it when people discuss koan sound and stuff like that cos its actually good and they use lots of interesting techniques.

Sinestepper wrote:It doesnt matter where his growl came from. I just dont think theres much to be learned from him. Theres much better bro. like i like it when people discuss koan sound and stuff like that cos its actually good and they use lots of interesting techniques.

You're comparing two completely different genre and saying "because it's good" is kind of a transparent reason..

Nah they are both brostep.

Sinestepper wrote:Nah they are both brostep.

Not really. Also I hate it when people take the elitist position against artists like Zomboy. Claiming that Koan Sound is 'actually good' and that Zomboy isn't is kinda stupid and close minded. I love both artist, and while I recognise that Koan Sound are more original and have built a career up over time unlike Zomboy, I'm not going to dismiss Zomboy as an artist I can't learn from. He's popular for a reason, and got to where he is relatively quickly. He must be doing something right.

I meant comparing Zomboy and Koan Sound

I like some Zomboy stuff, not a huge fan though and I love Koan Sound, but you pretty much hit the nail on the head.

Whether you like Zomboy or not, he's the producer who made glitch hop a legitimate genre.. Whether he's good to one person or not, he can't be bad if he's the face of a genre within the community

In what sort of situation would you enjoy listening to a zomboy track, out of interest? In a club, relaxing or what