Bassline question

[Maxxan]

That's all very true, but the subtle nuances from resampling isn't what's gonna turn your -24 Saw osc in massive into a roaring skrillex bass. Tape decks are cool and all but that's hardly the kind of sound design that was being discussed here.

I'm not gonna argue with you here, resampling is great and you obviously know a lot more about it than I do. Can create cool sounds and definately alter the characteristics if done right, but I just don't see it as a starting point for making a huge bass. Later in the effect chain, or if you have a very precise idea of what you want to do, sure. But as a go-to response for making big growls, I'm still not seeing why it's so necessary.

If you have any examples of your workflow in making a huge growl with resampling though I'd be really interested in that. Not to take a piss or say you're wrong, I'm genuinely interested in the process and I'd love to incorporate it into my productions. Not that I'm unhappy with my sounds or want to sound like skrillex (hell, I make glitch and electro mostly), but it would be fun to learn.

(And yeah, definately gonna try that pitching thing in Kontakt as well, thanks man )

[Triphosphate]

I don't think resampling is the starting point so much as it is for polishing, or as a technical alternative (I sometimes resample stuff from massive to drop it into FL's sampler, because I find it much easier to use portamento slides than macroing the pitch on multiple oscillators.) I think even more powerful tools are at play when creating HUGE BASS, like splitting frequency bands for more control/effects, or using a dedicated synth on sine for a sub. Also, I've heard tell that instead of using one distortion unit cranked to the max its better to use multiple distortion units (sometimes the same one) in small increments.

At the end of the day, resampling is a tool that does little to nothing by itself but enables you to get really creative when combined with other techniques.

[Today]

I don't have a better example of this because i don't make much of that kind of hard electro sound , but i made this piss-take monstrosity (shhh) for the competition
Soundcloud

and it has those sort of growly sounds
I synthed the growl in FM8 by using 4 operators with varied envelopes , mostly a sine modulated by a triangle and another waveform i don't remember its name
The trick would be to have different envelopes on each modulating operator
The pitch bend is also important
I applied multiband distortion with D16 Devastor, followed by compression and EQ and finally a limiter to level it off
resample that, and placed it in my sequencer

The advantage in this case was i could figure out my FX chain, synth the growl, and place it in the sequence as a sound that is set in stone. Then i went back to FM8 and tweaked the patch, made a similar but varied growl, and rinsed it through the same FX chain and into the sequence
You can sit there making growl after growl, changing shit up, altering the distortion, and you don't have to open up another synth or FX chain. If you don't like any of em, throw them in the trash or save a bunch for later projects. Now you have your own unique folder full of fithy growl basses ready to use in multiple keys

Also, i had one operator muted during the growls that used a single sine bass wave straight out of the synth's output. After each growl, I would mute all the other Ops, un-mute the sine wave, bypass all the effects and run the MIDI note again, sampling the sine to a mono audio track.
Now each of my growls has a fat sub bass layer that has the same pitch, duration, and pitch envelope. the pitch envelopes are the main reason for doing this
so that the sub is in tune with the growl.

And that's why i would definitely resample. Some people would take all those womps and wobbles and growls and shit and put them all on pads/notes of a sampler, assign a choke group (so only one bass will sound at a time) and go nuts playing the sampler to create a new bassline
that's a method you can NOT use with synths

you might discover a sick bassline pattern using sounds from 3 different synths or patches.

[Triphosphate]

I don't have a better example of this because i don't make much of that kind of hard electro sound , but i made this piss-take monstrosity (shhh) for the competition
Soundcloud

and it has those sort of growly sounds
I synthed the growl in FM8 by using 4 operators with varied envelopes , mostly a sine modulated by a triangle and another waveform i don't remember its name
The trick would be to have different envelopes on each modulating operator
The pitch bend is also important
I applied multiband distortion with D16 Devastor, followed by compression and EQ and finally a limiter to level it off
resample that, and placed it in my sequencer

The advantage in this case was i could figure out my FX chain, synth the growl, and place it in the sequence as a sound that is set in stone. Then i went back to FM8 and tweaked the patch, made a similar but varied growl, and rinsed it through the same FX chain and into the sequence
You can sit there making growl after growl, changing shit up, altering the distortion, and you don't have to open up another synth or FX chain. If you don't like any of em, throw them in the trash or save a bunch for later projects. Now you have your own unique folder full of fithy growl basses ready to use in multiple keys

Also, i had one operator muted during the growls that used a single sine bass wave straight out of the synth's output. After each growl, I would mute all the other Ops, un-mute the sine wave, bypass all the effects and run the MIDI note again, sampling the sine to a mono audio track.
Now each of my growls has a fat sub bass layer that has the same pitch, duration, and pitch envelope. the pitch envelopes are the main reason for doing this
so that the sub is in tune with the growl.

And that's why i would definitely resample. Some people would take all those womps and wobbles and growls and shit and put them all on pads/notes of a sampler, assign a choke group (so only one bass will sound at a time) and go nuts playing the sampler to create a new bassline
that's a method you can NOT use with synths

you might discover a sick bassline pattern using sounds from 3 different synths or patches.

Those basses are all 1 FM8 tweaked?
Bravo.

[Today]

just the growls, the wobble in between is massive or reason i think
thx

[ObscenityDubstep]

Yeah for that stuff resampling is the way to, for sure. But in my eyes that has a lot more to do with composition and arrangement than actual sound design. You're already at the point where you're happy with the sound, you're just making the melody more interesting, in which case freezing audio is awesome. But when you go in a thread about making a noisia bass I often see a lot of replies with just one word, 'resample', like that means an actual fuck. It's retarded and annoys the hell out of me. Resampling a turd, 'n whatnot.

[sunny_b_uk]

im also not a fan of resampling, it does work but it takes more time than me using the chain of fx i use to make sounds, im way too used to that + my own methods.
i mostly (but not always) get the sound i desire since iv put the time in and learnt my DAW's fx as much as i can over the years.
the only way to get better is as said, spend your time tweaking knobs. development will always come more and more as you keep trying.

[ARTFX]

Damn this thread is epic... Resampling offers a lot of possibilities that you can't do with MIDI as said before. Reversing, pitching and stretching are the main ones but still so many more things. Also, some people like to put their sounds in a sampler afterwards to process it even further, this offers even more options that you couldnt normally do in your synth.

You can reverse, pitch and stretch using regular vsts, granulizers and stuffs like that.

Yes but it sounds different then when you stretch audio, the artifacts it adds might be something you're looking for. Also saving CPU is the main big thing and also the more psychological effect it has. By bouncing stuff to audio you commit yourself to the sound, this might help you to learn how to move on instead of fiddle around for weeks on that single sound.

Just my note, you don't need to resample if you don't see the use of it. It's just one of the tools you can use to achieve a particular sound your looking for, not a crucial technique to making heavy sounds. It all depends on what the producer prefers.