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axolotl-dubstep wrote:

could you give me a general idea of how to make that man?

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Some interesting robotic sounds in there. Pretty much all made using fruity granulizer on samples of cabbage tearing and water dropping as well as paper crinkling.

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^^ some pretty interesting squelchy shit

watch your ears
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oh my!!

cmgoodman1226 wrote:Soundcloud

Some interesting robotic sounds in there. Pretty much all made using fruity granulizer on samples of cabbage tearing and water dropping as well as paper crinkling.

this is legit! i love your name. hahahahaha i have i feeling that most people dont understand it though. anyways i'm wondering when you granulize the sound, then im assuming you filter it to get is sounding nice and wobbley. what other effects did you put on the sounds?

dubesteppe wrote:

cmgoodman1226 wrote:Soundcloud

Some interesting robotic sounds in there. Pretty much all made using fruity granulizer on samples of cabbage tearing and water dropping as well as paper crinkling.

this is legit! i love your name. hahahahaha i have i feeling that most people dont understand it though. anyways i'm wondering when you granulize the sound, then im assuming you filter it to get is sounding nice and wobbley. what other effects did you put on the sounds?

Thanks. Actually, believe it or not, I used no filters in those sounds. I basically made a whole bunch of patches using a variety of different samples, and then picked out the bits I liked best to work on. I added slightly different effects to each. But generally speaking, I frequency split them, add some camel phat to the mids as well as some delay, then compressed and eq'd to taste. One of them I used fl studio's vocodex. For The highs I used camel phat again and then some exciter from camel space, then compressed and eq'd to taste. then I put them together, added some saturation, light reverb, compressed, then Eq'd the finished product. That's a bit simplified for what I did because I resampled about 5 or 6 times, but this is generally what I did. The part that sounds like the use of filters is actually drastic changes in the sound of the sample. I'm still very new to granular synthesis, but I'm really pleased with this first set of results. Anyways, I hope this helps, and if you have any other questions about it, feel free to ask me.

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I experimented with sub bass(lower than normal, C0!) + a phaser. Anyone else do any wild experimenting with phaser/chorus/flanger and messing with the feedback at 100%?

Artie Fufkin wrote:Soundcloud
I experimented with sub bass(lower than normal, C0!) + a phaser. Anyone else do any wild experimenting with phaser/chorus/flanger and messing with the feedback at 100%?

aha nice work, you uncovered a personal fave of dropping synths to silly levels and adding effects. try and very tiny delays <0.10ms

Ya I was going for trying to just make a sound out of the effect itself by taking out the original part(since a C0 isn't really any good lol). I've found that the flanger makes a cool siren sound and I made a kind've psychedelic drone sound out of it one time. Also forgot to mention theres a further description on the page on soundcloud for those sounds.

Oh and I was looking through my "sfx i made" folder (a lot of stuff made "from scratch" and just stuff I felt was cool and saved), and I found this.....thing...
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It's a recording I made, similar to what this guy did. http://www.youtube.com/watch?v=oymtkY8AuA4
I put a sock over the microphone just to be extra careful
I don't remember what effects I used exactly to process the recording.

My best notched reese so far - check my sig. It's in the growl that appears every so often. Was a rather defining moment in synthesis for me

amphibian wrote:My best notched reese so far - check my sig. It's in the growl that appears every so often. Was a rather defining moment in synthesis for me

that sounds sweet man!

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heres a little drumsteppy thing i threw together with some sounds i made using granular synthesis. Bass-ically what i did was take one Fm8 patch where i assigned the parameters to a midi controller. I played a single note and recorded my self wildly flailing knobs and faders. Then I took the recording and did some granular synthesis on it for an hour or two. I got this really cool sound that I re-granularized over and over again untill I had 5 or 6 sounds I really liked. Then I pitched some of them up and others down, and processed each one with lots of effects. Tell me what you think

amphibian wrote:My best notched reese so far - check my sig. It's in the growl that appears every so often. Was a rather defining moment in synthesis for me

this is beastly man!!!! When ever i hear that reese i picture an alien screaming. Would you mind giving me some insight on how it was made?

dubesteppe wrote:

amphibian wrote:My best notched reese so far - check my sig. It's in the growl that appears every so often. Was a rather defining moment in synthesis for me

this is beastly man!!!! When ever i hear that reese i picture an alien screaming. Would you mind giving me some insight on how it was made?

Was pretty straight-forward compared with other notch/neurofunk tutorials.

Basically:

* I recorded a sound at C2 (6 oscillator reese, but any reese will do), some a couple of stabs, others long
* low resonance notch filter here (keeps the notch thin) (just to give it a little movement. This was done on the synth itself.
* stage 1 distortion. Remember that every step of distortion HAS to sound good. If it sounds crap, don't go further.
* resample, then added 2 more distortion plugs
* second notch filter (this one with about 75% resonance for a really wide notch filter)
* The interesting movement came from the notch filter's cutoff hitting around 500hz.
* Resample and pitch down 12 semitones.
* flange/chorus/phaser to taste

It only took about 10-15 mins to get a wicked sound.

Also to note, I have not been able to reproduce it as nicely as this one, but been practising some more and get pretty damn close every time.

Points to remember:

* Notch filter automation - the cutoff can have very different effects based on where it's focused (very different sound at 2khz than 100hz)
* the wider the notch filter (high resonance) the more you're taking out of the signal. It's a delicate balance to get this right.
* Record a stack of notes, bind some knobs to parameters such as resonance/cutoff and record like 2 minutes of automation - you'll get some sick stuff you can then cut up (which is why you want to resample). In ableton you can then use fades to create some whack stuff

Before I got this sound, it's taken me about 6 attempts to get a sound I like

oh, one other thing - I got interesting sounds with phaser/flange at certain points. Worth experimenting with

Made this metal/hardcore inspired tune with a pretty evil sounding neuro reese.. Thought I'd post it in here

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check the tune in my sig, somehow managed to wrangle those sounds out of albino with no distortion, resampling or any major effects whatsoever aside form eq and verb i think.
also, had a couple of attempts at getting some badklaat type wubs:

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and then some skream/benga vibe wubs:

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A lot of really innovative and cool sound design going on in this thread, nice one lads!

Ascian wrote:Made this metal/hardcore inspired tune with a pretty evil sounding neuro reese.. Thought I'd post it in here

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nice job man. how did you go about doin this?

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made this a few mins ago, its going straight into its own track