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Ocelots Revolver wrote:

hookjunior wrote:

shinra wrote:think people are overthinking things, 90% of the sound at least should come from the synth. a bad patch with a lot of fx is still a bad patch, but a strong patch touched up with one or two effects sounds amazing.

this is what ive been trying to say. please listen to this guy

I get what your saying about the importance of a good patch, but the 90% from a synth thing can't be true.

Massive has some great filters and FX, but there is nothing wrong with running out a couple dry wavetables into a proper FX chain in your DAW.

blinkesko wrote:It's art, no rules apply

J to the Steez wrote:Don't know if its been said but...

-Granular synthesis has the potential to create some awesome and unique growls... I really like to use Camel Alchemy for this.
-Also, Reason's Malstrom which uses a slightly different form of synthesis called graintable synthesis yields some unique results. (ex: Koan Sound).

J to the Steez wrote:Crysist,

-Dare is an awesome track... very heavy... i like it a lot...
-If you don't mind me asking, which granular synth do you use?

sketchyderek wrote:Alchemy is killer for growls/granular synthesis.

Resampled through it to make this:
Soundcloud

VirtualMark wrote: Just spent the past hour going through these project files, very educational! I have to say this is the most helpful post i've seen, thanks! Really interesting to see how you went about making those sounds, and they're pretty spot on too.

Just a couple of questions - what was your process when you went about to make these sounds? Like in FM8, i've spent countless hours playing with it, but it seems almost as if there's no way of telling what sound i'll end up with. Yet in your patch, you have all of the operators modulating each other, how did you know to go about it that way?

Second question, where did you learn these skills? Any resources that you can recommend?

Thanks again, its nice when people share information like this, especially as these sounds have had many people stumped. Dubspot did a vid a while back and didn't even come close, yet when i look at it all laid out in Ableton it looks fairly straightforward. Awesome post.

mromgwtf wrote:Soundcloud

just skrillzorz man

blinkesko wrote:

mromgwtf wrote:Soundcloud

just skrillzorz man

Needed change?

mromgwtf wrote:Soundcloud

just skrillzorz man

Coolschmid wrote:

blinkesko wrote:

mromgwtf wrote:Soundcloud

just skrillzorz man

Needed change?

yep

traktion wrote:

mromgwtf wrote: I think he sampled it?

I didn't sample it, i made the screech in massive.

Here's basically what i did with the growl sounds:
SKRILLEX
I made a patch in FM8 which consisted of sine waves and simple waves like that. I modulated the amp of the frequency modulator to create a 'opening and closing mouth'. I assigned the mod wheel to this.
I then put it through ohmicide for some extra dirt.
Next I put it through a WOW filter in vowel mode on band reject. This was like the 'shape of the mouth'
I would modulate the mod wheel and WOW filter cutoff in a similar fashion to get it to growl.

SKRILLEX (Screech)
This was a patch in massive that uses saw waves in formant mode. I changed the pitch envelope of the formant to give it an interesting attack. Then I detuned the fuck out of it. Added a little dimension expander & chorus.

KILL THE NOISE
It's just a patch in massive that uses modern talking. Instead of spectrum mode I used pitch +/- mode or something like that. I modulated Wt.position and intensity appropriately to get the right vowel.

Obviosuly I've decribed it really simply but that was the process. I might make a video tutorial to go into further detail on what I did.