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I'm talking about a wobble, when I speed the frequency up and it sounds like a helicopter just going bababa rather than wawawa know what I mean? how do I make it sound more wawawa like when it's going faster?

Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

Misk wrote:

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

KONTAKT!!!
ifyou're talking about different lfo waveforms that is

Take a bass and sample it, then feed it into kontakt. It's very flexible. By far my fav method of producing basses is resampling them through kontakt.

Also look at limiting instead of compressing. Compression reduces dynamic variance, but with a wobble you want the variation to be distinct. Use hard limiting instead of softer compression in order to flatten out the hard stab of the wobble, while still letting the downside breath and be quiet. That way you get the distinct ON OFF ON OFF ON OFF

Also, have two version of your instrument running. cross them over so that one is just sub bass and one is everything else. Leave the sub bass clean and mono. Do whatever to the rest! This was also discussed in the bass handling thread.

decklyn wrote:

Misk wrote:

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

KONTAKT!!!
ifyou're talking about different lfo waveforms that is

Take a bass and sample it, then feed it into kontakt. It's very flexible. By far my fav method of producing basses is resampling them through kontakt.

Also look at limiting instead of compressing. Compression reduces dynamic variance, but with a wobble you want the variation to be distinct. Use hard limiting instead of softer compression in order to flatten out the hard stab of the wobble, while still letting the downside breath and be quiet. That way you get the distinct ON OFF ON OFF ON OFF

Also, have two version of your instrument running. cross them over so that one is just sub bass and one is everything else. Leave the sub bass clean and mono. Do whatever to the rest! This was also discussed in the bass handling thread.

I would never limit subs as it kills the bass.

Future One wrote:

decklyn wrote:

Misk wrote:

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

KONTAKT!!!
ifyou're talking about different lfo waveforms that is

Take a bass and sample it, then feed it into kontakt. It's very flexible. By far my fav method of producing basses is resampling them through kontakt.

Also look at limiting instead of compressing. Compression reduces dynamic variance, but with a wobble you want the variation to be distinct. Use hard limiting instead of softer compression in order to flatten out the hard stab of the wobble, while still letting the downside breath and be quiet. That way you get the distinct ON OFF ON OFF ON OFF

Also, have two version of your instrument running. cross them over so that one is just sub bass and one is everything else. Leave the sub bass clean and mono. Do whatever to the rest! This was also discussed in the bass handling thread.

I would never limit subs as it kills the bass.

not true in my studio. just did it today.

if its flapping too hard then lower the lfo amount

true that. the trick is to find the fine line of LFO that allows you to hear, and feel, the wobble, but let it still be subtle enough to not ne in your face... at least thats what i've found.

decklyn wrote:

Misk wrote:

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

KONTAKT!!!
ifyou're talking about different lfo waveforms that is

Take a bass and sample it, then feed it into kontakt. It's very flexible. By far my fav method of producing basses is resampling them through kontakt.

Also look at limiting instead of compressing. Compression reduces dynamic variance, but with a wobble you want the variation to be distinct. Use hard limiting instead of softer compression in order to flatten out the hard stab of the wobble, while still letting the downside breath and be quiet. That way you get the distinct ON OFF ON OFF ON OFF

Also, have two version of your instrument running. cross them over so that one is just sub bass and one is everything else. Leave the sub bass clean and mono. Do whatever to the rest! This was also discussed in the bass handling thread.

damn no check shit all i can say is listen to this man
sounds like your lfo is controlled by pitch hence speed increasing
did a kontakt wobble tutorial on here in decklyns how to make a wobble thread i think

Thanks for the tips people, seems 9/10 of my questions always have the same answer and that's resampling, I need a faster laptop!

I just made this and thought I'd post it here so you can see that I"m not just talking shit.

I hope that the wobble is similar to the sound that you want! You can certainly ask if you have any other questions and I'll do my very best to help. I'm certainly no pro producer, but non-the-less I'll offer what I can.

The bass is a sub-bass, saturated and distorted. The wobble was created by automating a LP filter with a sine wave LFO as deadly habit has described (thanks). The wobble is limited so that when it is at the loudest point the limiter is on full, and at the quietest point the limiter is off. You want a very fast release time to allow the limiter to breath once the LP filter cuts into the bass.

Hope this helps.

http://www.epicacademy.com/downloads/de ... 0alone.mp3

Misk wrote:

Future One wrote:

decklyn wrote:

Misk wrote:

oceanzen wrote:Try changing the LFO waveshape you're using.

Try Sine, Triangle etc, some synths have a knob where you can slowly change the shape as well.

wow, i need a synth that does that! i find that for a good "wub", a saw wave LFO works rather well.

KONTAKT!!!
ifyou're talking about different lfo waveforms that is

Take a bass and sample it, then feed it into kontakt. It's very flexible. By far my fav method of producing basses is resampling them through kontakt.

Also look at limiting instead of compressing. Compression reduces dynamic variance, but with a wobble you want the variation to be distinct. Use hard limiting instead of softer compression in order to flatten out the hard stab of the wobble, while still letting the downside breath and be quiet. That way you get the distinct ON OFF ON OFF ON OFF

Also, have two version of your instrument running. cross them over so that one is just sub bass and one is everything else. Leave the sub bass clean and mono. Do whatever to the rest! This was also discussed in the bass handling thread.

I would never limit subs as it kills the bass.

not true in my studio. just did it today.

What kind of monitors and sub have you got in your studio?

Limiting is for catching peaks. If you directly apply it to a sub channel all you are going to do is fuck up the bass by destroying the natural harmonics.

If you want to have a louder sub bass then turn it up. This is where it gets tricky because how do you turn the volume of the bass up if you've already ran out of headroom?

The answer to this is very careful placement of every sound in the mix. Also things like the scissor tool in cubase to create tiny holes in your bass when kicks and snares hit so you can turn the bass up louder. Or if your lazy you can use sidechaining.

All that limiting is is hard compression with a fast attack and hard knee at a certain threshold.

If you use an analogue modelled compressor as a limitor, far from destroying natural harmonics, it adds a touch of warmth and color.

It's not much different than compressing a bass to control dynamics and increase loudness, except that the application here is to allow the bass to quickly decompress. To each thier own - this makes sense to me tho, and hopefully i've demonstrated its application.

check out the sample I posted.

So what compressor/limiter did you use?

When people say limiter I usually think L2.


I'll post up a clip next week as I'm moving house this weekend and we can see who gets the loudest wobble and subs.

im down for this man, but lets make it the loudest sub in a composition/tune. in the mean time, check out the sub in my latest tune, "Brain Leech" on my virb page:

www.virb.com/misk


and we should start a new thread for this, so as to not hijack this thread further

/thread hijack

i usually use a limiter to boost my subs - but only pull the threshhold down to the point where the limiter starts kicking in, so only attenuate by a fraction of a db. just to make sure the tracks running hot as pos.
does anyone know if any artifacts can occur if the limiter isnt actually attenuating the signal?

as far as i know, phasing always occurs with a limiter/compresser. In the really expensive analog ones, the phasing is often referred to as "warmth".

Though theres probably a lot less phasing if the signal is low enough that the limiter isnt actually doing anything, and is just part of the signal chain, i would imagine. This is all just speculation tho.