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shouldnt be difficult if its a constant sound. what I mean by that is the sound doesnt change over time. Ill add you on AIM and you can send the sounds if you want and I'll get the waveforms for youparavrais wrote:If anyone has a failsafe way of isolating one instance of a waveform from a continuously held note then I can sample them for everyone. I can upload some short samples of them anyway but it's not as good without the isolated waveforms :\
I fear it may be harder than you think...I don't reckon it's possible to do it by hand, at least not in any audio editors that I have. You'd need some sort of program designed for isolating the start/end points of individual waveform cycles.jrisreal wrote:shouldnt be difficult if its a constant sound. what I mean by that is the sound doesnt change over time. Ill add you on AIM and you can send the sounds if you want and I'll get the waveforms for youparavrais wrote:If anyone has a failsafe way of isolating one instance of a waveform from a continuously held note then I can sample them for everyone. I can upload some short samples of them anyway but it's not as good without the isolated waveforms :\
lol ok i still wana tryparavrais wrote:I fear it may be harder than you think...I don't reckon it's possible to do it by hand, at least not in any audio editors that I have. You'd need some sort of program designed for isolating the start/end points of individual waveform cycles.jrisreal wrote:shouldnt be difficult if its a constant sound. what I mean by that is the sound doesnt change over time. Ill add you on AIM and you can send the sounds if you want and I'll get the waveforms for youparavrais wrote:If anyone has a failsafe way of isolating one instance of a waveform from a continuously held note then I can sample them for everyone. I can upload some short samples of them anyway but it's not as good without the isolated waveforms :\
people put way to much emphasis on resampling and adding distortion and all that...paravrais wrote:Not necessarily. I reckon at least as many producers don't resample as do. Kes-Es is a great example of how you can get ridiculously phat sounds straight out of the synth.Trainrek wrote:Derp?jaydot wrote:I've always wondered how to get bass sounds that sound like they've been resampled but obviously havent. I may be a synthesis noob but I can't get the simple "warp" style bass but can get some good yoi sounds. :/
If they sound like they've been heavily resampled then they probably have - you can't do everything inside massive you know, you can get the rough sound and then dirty it up with layers of distortion/chorus/eq/more distortion etc etc
Also, onelove that link is awesome. EDIT: No it isn't, they only give you mp3s
This. Only time I resample is when it is absolutely necessary to get the sound I want. Hardly use distortions anymore either.Basic A wrote:people put way to much emphasis on resampling and adding distortion and all that...paravrais wrote:Not necessarily. I reckon at least as many producers don't resample as do. Kes-Es is a great example of how you can get ridiculously phat sounds straight out of the synth.Trainrek wrote:Derp?jaydot wrote:I've always wondered how to get bass sounds that sound like they've been resampled but obviously havent. I may be a synthesis noob but I can't get the simple "warp" style bass but can get some good yoi sounds. :/
If they sound like they've been heavily resampled then they probably have - you can't do everything inside massive you know, you can get the rough sound and then dirty it up with layers of distortion/chorus/eq/more distortion etc etc
Also, onelove that link is awesome. EDIT: No it isn't, they only give you mp3s
Cab get alot dirtier sounds just using a synth then you can taking a decent patch and adding a million and one plugins to it, the resampling thing tends to lead to blindly slapping stuff around with no real goal as to what you want to achieve, imo. Best advice I was ever given was to just do it all in synth.
Coki, dont believe he reamples, most of his tunes just sound like one or two decent patches alternating between each other.
CHRISSSTT
Basically, it's a Reason vibe. You open like 3/4 Subtractors within a combinator. Have only the first oscillator turned on for each. Then you put in a nice clean sine wave for your sub and low pass it. High pass some metallic waveforms over the top. Then what I did for that track was audio merge all the subtractors together, then wired it through a Malstrom and added some comb filtering. Then it's just about stereo imaging, reverb and EQ. Also try to get quite in depth with like cv modulation and using certain parts of one synth to trigger parts of another. That's the Coki way. I very much doubt he resamples much, if anything. The guy's taken alot of time to learn Reason, hence why his tunes stand out in the scene. His LFO automation and wiring skills are on another level. I'm still learning, but getting there slowly. Hope this helps...onelove. wrote:CHRISSSTT
i was expecting a bog-standard filth producer capitalising on the thread, but jesus, that's the best replication of a Coki riddim I've listened to. Favourited!
Now spill your production secrets
so sad it died 
Cheers for all this advice, i really like your stuff as well, is well coki-ish i like it alot manSeraphUK wrote:http://soundcloud.com/seraphuk/seraph-gnasher Here's another one that's on a similar vibe.
http://soundcloud.com/seraphuk/seraphwonky This one I made a long time ago, so the mixdown isn't as good, but the drop at 1:40 is again pretty Coki-ish.
Spend the time to learn Reason. That's the only advice I can really give to anyone trying to achieve this kind of sound. You can pretty much make this kind of stuff with any softsynth I think. It's just knowing synthesis.
I also forgot to say that portamento and pitch bending also play an important part.
now just to try and put it into pratice