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Damn, thanks.
What settings do you use on vocodex? Does it play major role in the sound?

Yeah it changes it alot, sometimes place it in the wrong spot and it ruins the sound though.
Fiddle around with the "mouth" and "gender" (dunno what those are called xD) knobs so it sounds clear, the <--> knob i always have on full, take away the lows in the eq'ish thingie, sometimes so its like a slope going down from the right to the left and sometimes ill just lower around 100hz, so it doesnt get muddy, also play around with the 4dots in the middle, they matter!
Oh, the exporting, the clip i put up earlier is fl studio exporting, this one is recorded through edison, it sounds different:
Soundcloud

hey. i haven't posted here in a while but i made some growls and i wanted to share it. (i could have spent alot more time cleaning it up but its just an example of the plugins i used and the sounds)

Soundcloud

OK i just applied the redux plugin in ableton and automated it. I think that it makes it cleaner and more computerized sounding. LEt me know what you think.

Soundcloud

I like it, very unique.

sounds awesome. is that modern talking? normally i hate it but it sounds good in this case

Nice sounds - sort of sci fi stuff, but everything sounds panned to the left, also needs more sub

its actually fm8 with some minor fm modulation. most of the movement is from filters and bit reduction actually.

would love to see what you have going on there, it doesn't even sound like fm

kryptolith wrote:would love to see what you have going on there, it doesn't even sound like fm

well fm is really versatile so it can sound a wide range. and i'm obsessed which the sound of the scarymonsters bass sound and i think that it sounds harmonically alot like that one which was made with fm.

but like i said like 80 percent of the sound movement is from filters (hp, lp, notch, formant) going into a redux. i have an ableton rack that has like 8 crazy macro effects and just tweak the hell out of it. you can get pretty much any weird sound

Here me out here because this might sound a little ridiculous!
I made some interesting growls today using a vocoder, massive, distortion plugin and my mouth.
I basically used a modern talking oscillator in massive with no modulation whatsoever..
I made growling sounds with my mouth, that sound more or less in rhythm with my song.
Then I vocoded the mouth growls...along with my massive patch....distorted the shit outta it, but made sure that the settings were on sharp and not phat, just to make it more metallicish. Then the end result sounded something like the growls that u hear in this work in progress!!!
Soundcloud

fuck it's kornspun

Hircine wrote:fuck it's kornspun

you show some god damn respect, he is a legend in halls of DSF Production board

ehbrums1 wrote:

Hircine wrote:fuck it's kornspun

you show some god damn respect, he is a legend in halls of DSF Production board

yeah man, I did the artwork for his deep medi release a while ago.

http://sphotos-a.ak.fbcdn.net/hphotos-a ... 1721_n.jpg

rockerdude427 wrote:Here me out here because this might sound a little ridiculous!
I made some interesting growls today using a vocoder, massive, distortion plugin and my mouth.
I basically used a modern talking oscillator in massive with no modulation whatsoever..
I made growling sounds with my mouth, that sound more or less in rhythm with my song.
Then I vocoded the mouth growls...along with my massive patch....distorted the shit outta it, but made sure that the settings were on sharp and not phat, just to make it more metallicish. Then the end result sounded something like the growls that u hear in this work in progress!!!
Soundcloud

-You used the incorrect "here"...can you hear me on this?
-I don't hear growls, or a decent tune
-No, I'm not one of the bro haterz. I just hate shit tunes period. Datsik was the shit when that whole scene started to come out before the 2nd and 3rd waves became homogeneous and began engaging in bro competition in between periods of circle jerking each other (metaphorically, but hey, who really knows?)
-Constructive crit? Okay, below

1. Your whole track has terrible structure and is musically incoherent
2. You obviously don't understand gain staging or how to eq your mix (speaking of: notch out some room for your snare, you can barely hear it thru the midrange basses, cut below 100hz on your mid-basses to maintain headroom. Hi-pass your sub. Decrease the overall levels of your midrange basses because nothing else is really audible besides them. If you get your mix right, everything has a place and will have power where it needs power. Theory of relativity. If you need your mid bass to stand out, instead of boosting, cut some of the mids out of other parts around where your mid bass has its strongest sonic elements. It's usually better to cut to make things sound better...boost if you want to color the sound (mixing engineers handbook).
3. That build is played out. Make a variation. And it seems to just come out of nowhere. Build into it.
4. The melody, if u wanna call it that, is boring.
5. All the sounds are very toy-ish. Honestly, if you were aiming to make Nintendo music I'd congratulate you
6. Above was stated after listening to several of your songs.
7. Pick a new name. I like some metal when the mood hits. Korn is terrible though. I can't see why anyone would want Korn's name even affiliated with their artist name.
8. Get better quick, or give up. 2013 is likely the end of the brostep sound and all the kids will probably go back to doing their drugs to new-hardstyle or shitmau5 or whatever the big promoters decide to put their weight behind. Exception to this would be if you want to make brostep to make yourself happy. by all means continue if it truly is about the journey inward towards self fulfillment and greater knowledge.
9. I'm not a tnuc. You are not a toddler and the truth is better than being lied to. Truth helps growth and development.
10. FM is a lot more flexible for making original growls. Resampling can also give you some neat results if you have the dedication to spend 3-4 hours just fucking around with fx chains and resampling until you find results you desire to keep.

neonmansion wrote:

kryptolith wrote:would love to see what you have going on there, it doesn't even sound like fm

well fm is really versatile so it can sound a wide range. and i'm obsessed which the sound of the scarymonsters bass sound and i think that it sounds harmonically alot like that one which was made with fm.

but like i said like 80 percent of the sound movement is from filters (hp, lp, notch, formant) going into a redux. i have an ableton rack that has like 8 crazy macro effects and just tweak the hell out of it. you can get pretty much any weird sound

i hate to be that guy, but could you post a screenshot? i find that whenever i use multiple filters they cancel out and leave nothing behind - also redux often leaves behind ugly jittering artifacts

kryptolith wrote:

neonmansion wrote:

kryptolith wrote:would love to see what you have going on there, it doesn't even sound like fm

well fm is really versatile so it can sound a wide range. and i'm obsessed which the sound of the scarymonsters bass sound and i think that it sounds harmonically alot like that one which was made with fm.

but like i said like 80 percent of the sound movement is from filters (hp, lp, notch, formant) going into a redux. i have an ableton rack that has like 8 crazy macro effects and just tweak the hell out of it. you can get pretty much any weird sound

i hate to be that guy, but could you post a screenshot? i find that whenever i use multiple filters they cancel out and leave nothing behind - also redux often leaves behind ugly jittering artifacts

The key with using multiple filters on a sound is in doing very slight modulations with them. Read up on neuro basses, there are plenty of threads on dogs on acid that are gold mines, and a lot of the same processing and ideas can be used for brostep sounds. I know he's not brostep or skrillex, but if you watch Distances tutorial on mid-range twisted reeces, you'll understand a lot about filtering and all that jazz.

johnnyng wrote:

rockerdude427 wrote:Here me out here because this might sound a little ridiculous!
I made some interesting growls today using a vocoder, massive, distortion plugin and my mouth.
I basically used a modern talking oscillator in massive with no modulation whatsoever..
I made growling sounds with my mouth, that sound more or less in rhythm with my song.
Then I vocoded the mouth growls...along with my massive patch....distorted the shit outta it, but made sure that the settings were on sharp and not phat, just to make it more metallicish. Then the end result sounded something like the growls that u hear in this work in progress!!!
Soundcloud

-You used the incorrect "here"...can you hear me on this?
-I don't hear growls, or a decent tune
-No, I'm not one of the bro haterz. I just hate shit tunes period. Datsik was the shit when that whole scene started to come out before the 2nd and 3rd waves became homogeneous and began engaging in bro competition in between periods of circle jerking each other (metaphorically, but hey, who really knows?)
-Constructive crit? Okay, below

1. Your whole track has terrible structure and is musically incoherent
2. You obviously don't understand gain staging or how to eq your mix (speaking of: notch out some room for your snare, you can barely hear it thru the midrange basses, cut below 100hz on your mid-basses to maintain headroom. Hi-pass your sub. Decrease the overall levels of your midrange basses because nothing else is really audible besides them. If you get your mix right, everything has a place and will have power where it needs power. Theory of relativity. If you need your mid bass to stand out, instead of boosting, cut some of the mids out of other parts around where your mid bass has its strongest sonic elements. It's usually better to cut to make things sound better...boost if you want to color the sound (mixing engineers handbook).
3. That build is played out. Make a variation. And it seems to just come out of nowhere. Build into it.
4. The melody, if u wanna call it that, is boring.
5. All the sounds are very toy-ish. Honestly, if you were aiming to make Nintendo music I'd congratulate you
6. Above was stated after listening to several of your songs.
7. Pick a new name. I like some metal when the mood hits. Korn is terrible though. I can't see why anyone would want Korn's name even affiliated with their artist name.
8. Get better quick, or give up. 2013 is likely the end of the brostep sound and all the kids will probably go back to doing their drugs to new-hardstyle or shitmau5 or whatever the big promoters decide to put their weight behind. Exception to this would be if you want to make brostep to make yourself happy. by all means continue if it truly is about the journey inward towards self fulfillment and greater knowledge.
9. I'm not a tnuc. You are not a toddler and the truth is better than being lied to. Truth helps growth and development.
10. FM is a lot more flexible for making original growls. Resampling can also give you some neat results if you have the dedication to spend 3-4 hours just fucking around with fx chains and resampling until you find results you desire to keep.

Honestly I agree and disagree with certain things you said...
First of all, stop acting like brostep is going to go away, I understand that you're giving me the truth but thats like saying Dubstep will go away...Brostep is more popular most other kinds of dubstep between artists like Feed Me, Knife Party and even Skrillex. Next, don't tell me to get better or stop making music...Like it or not I'm here to stay, and I will continue to make electronic music as long as I damn well please. Again, I'm not an idiot and I can handle the truth, just don't make ridiculous statements like those that I mentioned and expect me to ignore them on the off chance that I had my eyes closed. Most of what else you said makes perfect sense and I'm willing to learn from that. Thank you for your input and I appreciate it!

johnnyng wrote: 8. Get better quick, or give up. 2013 is likely the end of the brostep sound and all the kids will probably go back to doing their drugs to new-hardstyle or shitmau5 or whatever the big promoters decide to put their weight behind.

2013 will be the year of brosteppish electro house. Just listen to this:
http://www.youtube.com/watch?feature=pl ... bLUY#t=88s

Isn't that 1000x more catchy than most of brostep tunes?

Rob Swire/Knife Party is talented, so is skrillex, I've never said anything against that. Anybody who does is just a purist/hipster.

I'm not acting like it is going to go away, its a fad, it will. I never brought that up to be a dick, I'm just saying evaluate why you are making a certain sound. If you like it, great, but if you are doing it for external factors; ie success, acclaim, money, etc...you'd be better off waiting to see what the next big trend is...and jump on it before everyone else does. And what I said only pertains if the above is true...if the above is the reason you want to make music, I said you better improve quickly, because that trend's legs will likely run out in the near future. Anytime you see any genre of music start getting pushed to stadiums, in k-mart commercials, and britney spears songs, you can be pretty sure the commercialization will eventually cause people to seek new. It is human nature.

All that said, my only hope has been to have all the newer producers realize that the internal reasons to make music should outweigh the external ones, and that it is a lot of time wasted if you are making music for the sole intent in getting people to like it.

My time gets spent at least TRYING to make tunes that will be timeless. I know sound design, wonky basses and craze are enjoyable the make, but when things become more about sound design than the actual music, its never a good sign for a scene. That's pretty much what the neuro dnb scene turned into, and I'm pretty sure brostep will go that way too, for the reasons I already mentioned.

Lastly, like I mentioned to the other person above, when you make growls, midrange basses, etc....use filters moderately, don't have these wide sweeps it just sounds awful. Less is more. Same with distortion. Plus its better harmonically to add small amounts of distortion throughout each cycle of processing as opposed to adding it all at once. And if you want those vocal growls, draw in the automation and don't be afraid to go staccato with the notes.