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mromgwtf wrote:There you go xD

Soundcloud

It would be cool to hear this resampled & granulized.

mthrfnk wrote:

mromgwtf wrote:There you go xD

Soundcloud

It would be cool to hear this resampled & granulized.

Just note it's not a bass demo, I'm showing the talking bit. The bass is just 3xosc

I'm on mom's notebook now without any plugins like fm8 or what, so you know

Fucking around earlier with Massive for the first time in a few weeks:
Soundcloud

Some nice sounds, needs more growl though I think.

Also got this WIP with a kind of growly/reesy bass:
Soundcloud

As always, if you want info just ask

mthrfnk wrote:Fucking around earlier with Massive for the first time in a few weeks:
Soundcloud

Some nice sounds, needs more growl though I think.

Also got this WIP with a kind of growly/reesy bass:
Soundcloud

As always, if you want info just ask

Sounds really good for electro house! Mind sharing the patch?

dotcurrency wrote:

mthrfnk wrote:Fucking around earlier with Massive for the first time in a few weeks:
Soundcloud

Some nice sounds, needs more growl though I think.

Also got this WIP with a kind of growly/reesy bass:
Soundcloud

As always, if you want info just ask

Sounds really good for electro house! Mind sharing the patch?

Setting below:
http://i47.tinypic.com/bip2c4.png
Have fun

mthrfnk wrote:

dotcurrency wrote:

mthrfnk wrote:Fucking around earlier with Massive for the first time in a few weeks:
Soundcloud

Some nice sounds, needs more growl though I think.

Also got this WIP with a kind of growly/reesy bass:
Soundcloud

As always, if you want info just ask

Sounds really good for electro house! Mind sharing the patch?

Setting below:
http://i46.tinypic.com/10e0ppl.jpg
Have fun

Thanks for taking the time to put this together ! I know beggers can't be choosers, but it's too small for my bad eyes, think you can make those images bigger? Can't read a thing.

Yeah I just edited the link, idk why but tinypic is resizing it... lemme try somewhere else
http://www.pictureshack.us/images/26376_growl.png

Works

mthrfnk wrote:Yeah I just edited the link, idk why but tinypic is resizing it... lemme try somewhere else
http://www.pictureshack.us/images/26376_growl.png

Works

Many thanks again!

What can I use as a substitute for biFilter2?

dotcurrency wrote:

mthrfnk wrote:Yeah I just edited the link, idk why but tinypic is resizing it... lemme try somewhere else
http://www.pictureshack.us/images/26376_growl.png

Works

Many thanks again!

What can I use as a substitute for biFilter2?

Anything with a bandreject filter - even automating a notch in an EQ would work.

I just use BiFilter because I got it free

Whoa...everyone...take a step back and listen to this tune.



I've never heard such wet & crunchy basses in my life. I've watched a few of Big Chocolates videos and he pretty much uses FM8 or Albino and resamples with distortion, then does some frequency sweeps for his growls. Mostly highpass sweeps I believe.

ephyks wrote:Whoa...everyone...take a step back and listen to this tune.



I've never heard such wet & crunchy basses in my life. I've watched a few of Big Chocolates videos and he pretty much uses FM8 or Albino and resamples with distortion, then does some frequency sweeps for his growls. Mostly highpass sweeps I believe.

the bad mixdown kinda ruins it

ephyks wrote:Whoa...everyone...take a step back and listen to this tune.



I've never heard such wet & crunchy basses in my life. I've watched a few of Big Chocolates videos and he pretty much uses FM8 or Albino and resamples with distortion, then does some frequency sweeps for his growls. Mostly highpass sweeps I believe.

Yeah, here's the technique I talked about earlier in action.
Love his youtube channel, seems like a pretty dope dude

Made this today with FM8 and figured I would post it cause it came out kind of cool I think
Soundcloud

2:14
I almost shit myself, that was so good. Fuckin' beast growlssssss

Unless you're a genius with 10+ years experience with synthesis, don't use fm8. FM synthesis is fucking hard. In specification, massive is a subtractive synth. But in reality, no it isn't. It has many different knobs that create fm effect, + almost each wavetable in massive is a little fm8 patch. The PHASE option in modulation osc does phase modulation, which is almost the same as the so-called frequency modulation. FM8 uses phase modulation, not frequency modulation. The sine shaper does little phase modulation too.

You can create such awesome complex fm-like basses in massive in MINUTES, you'd have to spent hours to get the same growls in fm8. If you're going to use fm8, you should know, you won't create a nice bass with a one instance of it. You have to layer 2 of them at least. It's like creating a complex bass in massive with one wavetable. I've made a kinda cool bass in massive I'd like to show you:

Soundcloud

It's not that great, but whatever. Soundcloud compression fucks it up a little bit.
The whole sounds comes from sine shaper, actually. Without it, the bass sounds like nothing, automating the drive in sine shaper gives you a lot of movoment, it's fm-ing the sound. Notch filters are cool too.

mromgwtf wrote:Unless you're a genius with 10+ years experience with synthesis, don't use fm8. FM synthesis is fucking hard. In specification, massive is a subtractive synth. But in reality, no it isn't. It has many different knobs that create fm effect, + almost each wavetable in massive is a little fm8 patch. The PHASE option in modulation osc does phase modulation, which is almost the same as the so-called frequency modulation. FM8 uses phase modulation, not frequency modulation. The sine shaper does little phase modulation too.

You can create such awesome complex fm-like basses in massive in MINUTES, you'd have to spent hours to get the same growls in fm8. If you're going to use fm8, you should know, you won't create a nice bass with a one instance of it. You have to layer 2 of them at least. It's like creating a complex bass in massive with one wavetable. I've made a kinda cool bass in massive I'd like to show you:

Soundcloud

It's not that great, but whatever. Soundcloud compression fucks it up a little bit.
The whole sounds comes from sine shaper, actually. Without it, the bass sounds like nothing, automating the drive in sine shaper gives you a lot of movoment, it's fm-ing the sound. Notch filters are cool too.

I have to disagree with a lot of what you said tbh...
1) You don't need 10 years experience to use FM8, you just need to be patient, read the manual and learn how to use the synth in order to make the sounds you want. As soon as people read "the pro's" were using FM8 they tried to use it on their own only to realise "shit i can't just whack an LFO on modern talking and make a yoy" - which is precisely the point, you need to learn a synth to make original stuff with it. Of course it's quite easy to make growly noises in Massive because people have been doing it and writing tutorials about it for months now, and tbh you can can get them just fucking around with it. The flaw here is that most of the time stuff ends up sounding the same... because everyone's using the same fucking wavetables.
2) Most of the sounds you create in Massive aren't anywhere near as complex as the stuff that is possible in FM8 - I don't know where you've got the "must layer 2+" idea from, if anything I'd say that applies to Massive not FM8 because in general Massive generates sonically weak sounds whereas FM8 generates more frequency rich sounds.
3) The whole philosophy of getting growls straight out of a synth is a bit stupid imo... I still stand by the fact that the right FX and post processing (resampling/granulizing) can make a great sound from a meager starting point. This way you can avoid the blindingly obvious nature of a lot of sounds Massive generates where you can almost visualise what's happening in the synth in a lot of peoples tracks (e.g. people doing generic stuff with LFOs).

The sound you posted is okay, but honestly it just screams "I made this in Massive" and idk how you'd put that in a track, but that's beside the point.

Each to their own I suppose.

Haven't been keeping up with this thread to much so not sure if you already answered this mthrfnk but you mind explaining a little about what you did to create the growl in trouble downtown?

Trying to derail this before it comes a VST war

The flaw here is that most of the time stuff ends up sounding the same... because everyone's using the same fucking wavetables.

Well, I disagree with this. There are 82 different wavetables in massive. Each wavetable has it's 4 modes. So it's 328 different sounds. You can get around ~3 different sounds from each mode. (with carbon you can make like 50 of different sounds lol). So it's 984 different sounds already. You can select 3 oscillators in massive. So you can make 984^3 = 952763904 different sounds. Next. Processing. You can make like 98765498765948767345539 different effect chains. So you get - 952763904 * 98765498765948767345539 = 94100202184752529840123454624256 different sounds (the calculation is right). It's hard to get the same sound where you have 94100202184752529840123454624256 different sounds to "choose" from, eh?

mromgwtf wrote:

The flaw here is that most of the time stuff ends up sounding the same... because everyone's using the same fucking wavetables.

Well, I disagree with this. There are 82 different wavetables in massive. Each wavetable has it's 4 modes. So it's 328 different sounds. You can get around ~3 different sounds from each mode. (with carbon you can make like 50 of different sounds lol). So it's 984 different sounds already. You can select 3 oscillators in massive. So you can make 984^3 = 952763904 different sounds. Next. Processing. You can make like 98765498765948767345539 different effect chains. So you get - 952763904 * 98765498765948767345539 = 94100202184752529840123454624256 different sounds (the calculation is right). It's hard to get the same sound where you have 94100202184752529840123454624256 different sounds to "choose" from, eh?

Yeah but you can tell it came straight from Massive. Of course no two sounds are exactly the same, but they can sound very similar.

mromgwtf wrote:

The flaw here is that most of the time stuff ends up sounding the same... because everyone's using the same fucking wavetables.

Well, I disagree with this. There are 82 different wavetables in massive. Each wavetable has it's 4 modes. So it's 328 different sounds. You can get around ~3 different sounds from each mode. (with carbon you can make like 50 of different sounds lol). So it's 984 different sounds already. You can select 3 oscillators in massive. So you can make 984^3 = 952763904 different sounds. Next. Processing. You can make like 98765498765948767345539 different effect chains. So you get - 952763904 * 98765498765948767345539 = 94100202184752529840123454624256 different sounds (the calculation is right). It's hard to get the same sound where you have 94100202184752529840123454624256 different sounds to "choose" from, eh?

I get that you're trying to prove a point, but if the sounds are so vastly different, why is it that so many people end up generating the same half assed "yoy" or "argh" noises with Massive. In general you're not going to make that many different decent basses from Massive because half the wavetables/mode combo's simply sound crap if used to make basses/midrange and so people end up turning to the same wavetables and modes, time and time again. Like I've mentioned before, I've found myself recently just coming across more and more new tracks with similar synth work that's blatantly straight out of Massive, especially with newer brostep/electro.

The point I'm trying to get across is that it's better to learn one synth instead of comparing between others. The more you learn a synth the more orginal your sounds can be. Personally I've been shying away from both Massive and FM8 recently to try and get some more original sounds... and it's working to an extent, I'm still making reeses/growls but to me they're starting to sound more "professional" and less like "my-first-growls-in-massive". The growly stuff I posted above was the first midrange/bass I've made in Massive in a fair while.

Outdropt - I've posted extensively about this in either this thread or the reese bass thread. At the sake of me reposting the stuff it's probably easier for you to just filp through the past pages of each thread since I've posted a few good chunks of info. Any more info though - just ask

Just a quick edit: personally this is the reason I like a lot of Knife Party's midrange/bass work because it sounds good, fits the genre, but doesn't sound overly similar to other stuff (at least not intentionally). One of the reasons for this I think is because they use other synths outside of Massive/FM8 - for example the basses in Bonfire were made in Sylenth and according to Rob Swire really weren't hat hard to make.