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The Mystery Date posted:Haha, sorry to get you started. I also tried making a separate track for the bass and putting in a saw an octave above at a pretty low level, but there wasn't much improvement. I'd be interested to see what you get in ES2, although I don't use a mac. ES2 is pretty simple. I'm more concerned with the particular filters and limitations of ES2. Once I nail it in ES2 it's something I should be able to put together in Massive in just a few minutes.
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Dec 14, 2011 06:47
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I'm looking to maybe use a couple related, but different sounds and was hoping you guys might be able to help. The first is sort of a lo-fi AM radio type of sound you can hear at the beginning of When in Rome by Nickel Creek here: http://www.youtube.com/watch?v=ylslcF-fUeE I am guessing this is maybe a band-pass filter? If anyone has other ideas or suggestions on filter ranges I would appreciate it. The second I would like to try is a vocal sound similar to what Best Coast has (in most of their stuff, but When I'm With You is a good example: http://www.youtube.com/watch?v=nN1XzxOQWrA ) It sounds like there is plenty of reverb (maybe echo, I am not sure the difference) and maybe they are using some kind of filter on it as well? I have read from some people that sending the vocals through a small, cheap amp might help recreate the lo-fi sound. I appreciate any help!
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Dec 15, 2011 14:27
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The Nickel Creek track sounds like it's being recorded with one of those crappy handheld cassette recorders. I'd be willing to bet that's exactly how they got that sound. I do know of one way to recreate that digitally with SoundToys EchoBoy and a filter. Set EchoBoy to 100% wet with a delay of 0 ms then go into the settings and play with the wobble and saturations until you get the amount of tape effect you want. Then you can limit the bandwidth with a high pass and a low pass filter adjusted to taste. For that Best Coast vocal sound try a bit of Ampex preamp type distortion followed by an opto compressor taking 3-6 dB off, then run the whole thing through an EMT Plate style verb. Should get you 90% of the way there. That vocal sound doesn't strike me as particularly lo-fi just as an older 1960s type of approach to how it was tracked/mixed. Hogscraper fucked around with this message at 21:44 on Dec 15, 2011 |
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Dec 15, 2011 21:20
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Mr. Mutton Chops posted:So how would one go about achieving this guitar sound? To get close, get your favorite leslie effect, put an overdrive or distortion in front of it, and play slide. It also sounds like there's a clean signal in there, too. Too much distorion/overdrive would ruin the effect.
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Dec 15, 2011 23:08
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@Mr. Mutton Chops For the record, in case you're not familiar with it, the Uni-Vibe pedal is made to recreate the Leslie effect. Not sure if that's exactly what the BK used on that track but it couldn't hurt to try one out.
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Dec 15, 2011 23:13
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Hey Hogscraper, any luck with ES2?
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Dec 16, 2011 00:05
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https://www.youtube.com/watch?v=w1uQkIBTQlc I've recorded the bass and vocals to this song using Logic Pro, but it sounds hollow without the drone in the background. It seems like it would be easy to recreate, but I just picked up recording so I'm really stumbling around in the dark when it comes to making sounds. Can anyone help a complete
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Dec 16, 2011 00:11
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Gh0st_Preacher posted:To get close, get your favorite leslie effect, put an overdrive or distortion in front of it, and play slide. It also sounds like there's a clean signal in there, too. Too much distorion/overdrive would ruin the effect. Hogscraper posted:@Mr. Mutton Chops Hmmmm, might look into one of those pedals. Thanks, both of you.
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Dec 16, 2011 02:16
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Hogscraper posted:The Nickel Creek track sounds like it's being recorded with one of those crappy handheld cassette recorders. I'd be willing to bet that's exactly how they got that sound. Awesome! Thank you for taking a look and for the info good sir.
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Dec 16, 2011 14:18
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Hi, I've read through this thread and it's been a ton of help. Anyway, I've always wondered how this effect was achieved in Coat of Arms, by Nosaj Thing. Becomes obvious at about 40 seconds, if the link below doesn't work. http://www.youtube.com/watch?feature=player_detailpage&v=h768xGeMpsE#t=39s It sounds like all the other sounds quickly drop in volume as the bass drum hits, gives it a really cool "air leaving the room for a second" feeling. I've seen the term "sidechaining" used to describe a similar effect earlier in the thread and in the comments for the video, but I don't really know what that means.
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Dec 16, 2011 21:46
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Radio du Cambodge posted:Hi, I've read through this thread and it's been a ton of help. Anyway, I've always wondered how this effect was achieved in Coat of Arms, by Nosaj Thing. Becomes obvious at about 40 seconds, if the link below doesn't work. Google Sidechain Compression.
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Dec 16, 2011 22:15
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Does anybody know how this guy was able to sample exact sounds from Super Mario Brothers? http://www.youtube.com/watch?v=CHXDgeqn56o
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Dec 22, 2011 06:45
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He's not sampling anything. The guy has obviously spent a lot of time figuring out what notes/chords each of the sound effects consist of and now to articulate them. The only one I can really discern is the coin sound, which is the two-octave harmonic on the B and high E string. I think the crappy distortion and bad recording quality help approximate the grainy 8 bit quality of the NES.
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Dec 24, 2011 22:04
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In an effort to learn how to use 'Operator' and 'Analog' in Ableton, I've been messing around for a while trying to recreate the first synth sound in Austra's song Beat and the pulse: http://www.youtube.com/watch?v=tjKtbCx3piM&ob=av2e I've been having trouble recreating the sound. I've tried using Operator, but everything keeps sounding like a bad church organ. All I know for sure is that the note is 'F' and there is reverb.
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Dec 25, 2011 21:47
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It's easier (as in a lot more straightforward) to do this in Analog instead of Operator. To avoid having Operator sound like what you described - it's got several waveforms. It also has these colored blocks which can be put in several configurations. The best thing is to just start with operators A and B and see what they do when you turn up the level of B and start altering the pitch. Set the envelope to have a decay of 700ms or so to hear the sound actually change. Just experiment with coarse pitch changes and find out what Fine does. Anyway, while this sounds like a cop-out, the character of Analog needs more persuasion to cooperate. Ideally, I'd leave the job to Sylenth1 which just has that particular kind of filter. The free (cross-platform) Synth1 would work as well I think. Start by dragging Analog onto a track. You get a boring default patch. This is a sound that consists of two saw-wave oscillators, one slightly detuned. (try -0.10 for osc 2). Unison has been applied - this stacks multiple detuned copies of a single voice on top of eachother. This is something you can't do in Operator unless you put like 4 of 'm - each loaded with exactly the same preset - in an Instrument Rack and detune them separately (possible, but lots of work). In Analog, it's not exactly shown how many voices are in the Unison. Crank that up to 35% or so (Unison can be set at the right-hand side in the plugin). Set the filter mode to LP24 or if you're feeling adventurous, to N2P (this is a notch filter and sounds like a lowpass for certain values. Experiment). In case of LP24, set cutoff to 150 or so. When you click on any knob, you see that the dark gray fill around it turns a lighter shade of gray. The black "display" in the center also changes and shows the particular parameters of that part of the synth. Set the attack to as low as possible and the decay to 1.30 seconds or so. Under Freq. Mod, set Envelope to 5 or so. What does this mean? Well, it's interesting to just change the numbers - but what you're saying now is that the envelope should change the filter cutoff in a particular way. Envelopes go up or down (up in this case), so you start with a baseline value (in this case, the aforementioned 150) and then add a number to that. For each millisecond there's a value you should add; that value at that moment is described by the shape of the envelope curve, and multiplied (if necessary) by the Freq. Mod Envelope value. The sound will not match exactly. It's probably a good idea to assign the filter envelope's ADSR, the cutoff and the freq. mod envelope to the knobs on a MIDI controller and then experiment with trying to get it right. It's not a big problem if you can't - not all synths have the same character, even if they both say they've got lowpass filters and saw waves and crap.
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Dec 26, 2011 00:30
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Hello musicians lounge, I've gotten a keyboard for christmas (old evolution mk 449C), and I wish to put it to full use by... Making cheesy 80s rock. The program I've got for making electronic music (and synths) before has been Fruityloops, and there are three types of sounds that I'm looking to sort of recreate (or somethign close enough). I was wondering how I would go on about to recreate the intro synth of this song: http://www.youtube.com/watch?v=nBPCaArtW0k Andrew W.K - I get Wet and http://www.youtube.com/watch?v=wlq0lYB3iSM Van Halen - Jump aaand http://www.youtube.com/watch?v=9jK-NcRmVcw&ob=av2e Europe - The Final Countdown I've been fiddling about with a particular VST (Pentagon I), but I just can't seem to get that warm and fuzzy sound the three songs have. I'd appreciate it a lot if you could point me in the direction of some VST or the ilk that can create such sweet sounds, or give me pointers on how to achieve it. How do the do it? Thank you for taking the time reading this and thanks in advance for any help you can give me. 
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Dec 26, 2011 01:28
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Greggster posted:Making cheesy 80s rock. http://sonicprojects.ch/obx/welcome.html < this is what you want, trust me. They've got a holiday discount as well until the 31st. The intro on the Andrew W.K. sound is probably real (orchestral) brass or otherwise convincingly enough sampled one, those horns aren't done with synths.
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Dec 26, 2011 01:52
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Laserjet 4P posted:http://sonicprojects.ch/obx/welcome.html < this is what you want, trust me. They've got a holiday discount as well until the 31st. Oh thanks a lot for the fast answer, that VST does seem like a really good one, I've got some money for christmas I had intended on saving but eh, just from the short video it seems like it definietly fits what I'm after. I'm going to test the OP-X now, how much better is the OP-X PRO/PRO II than regular OP-X?
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Dec 26, 2011 02:09
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For $9 more than OP-X Pro II you can buy Diva which in terms of sound does a much better job of emulating various classic analog synths (Moog, Roland, Korg, but unfortunately I don't think there's any Oberheim in there...) than the OP-X stuff does of emulating an OB-X. The main reason to go with OP-X is because you really, really want something with the same controls as an OB-X. Otherwise, it is more or less a standard VA plugin. (Nothing wrong with that, just don't be misled by their retarded marketing) There is a fully functional Diva demo available through the end of the year, so you can easily download it and give it a shot. Be sure to set it to Divine quality if your computer can take it. It even has a Jump preset, though it's not the most accurate one I've ever heard, it still sounds pretty decent. breaks fucked around with this message at 02:50 on Dec 26, 2011 |
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Dec 26, 2011 02:48
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True, but the Jump brass sound is an Oberheim. The Final Countdown sound comes from a JX8P, for which there is an emulator here: https://sites.google.com/site/mlvst0/ - and that one sounds really good as well. Also yes, Diva's great (but it's no Oberheim) It can do a Juno and a Jupiter though, so if you're not a stickler for authenticity but you want 80s sounds in general then it's the better choice - and multiplatform, too. The OB brass patch has a little "twang" at the start which is one of the oscillators quickly going down in pitch. For the rest it's 2 saw oscillators, detuned only a little bit.
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Dec 26, 2011 03:01
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Anyone have any tips on creating a loud but deep bassy drum kick that doesn't completely overpower your speakers when you want every other instrument to still come through? If I lower the volume then it begins to sound weak in the mix but to high then it takes over. I can't seem to find a middle ground.
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Dec 26, 2011 10:13
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Laserjet 4P posted:Thanks, that helped a lot, and I think I learned something as well. If I can get past using the blade runner preset on Sylenth I should be on my way.
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Dec 26, 2011 20:27
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Laserjet 4P posted:https://sites.google.com/site/mlvst0/ That sounds very nice indeed. Thanks for the tip.
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Dec 26, 2011 20:59
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Vira posted:Anyone have any tips on creating a loud but deep bassy drum kick that doesn't completely overpower your speakers when you want every other instrument to still come through? EQ is almost definitely the problem. Roll off frequencies lower and higher than the kick actually hits at. Once you find a good sweet spot where the kick "lives", you can accentuate it without having to boost the overall level of the instrument. I could definitely use some help on something. We're working on recreating more of a throwback style of stuff because that's the kind of music we've been listening to non-stop and I'm finding a lot of tones and stylistic ideas of panning and such that are just totally gone from today's music. Here's a quick track we threw together of just guitar and vocals, but I've tried to give everything a certain presence that I don't usually hear on modern recordings. I finally found a good mic for the vocalist I think. She has an amazing voice with a lot of character and bite, but nearly every large diaphragm condenser sounds like total poo poo, too pristine and harsh. We got a Coles 4038 and I think so far it's made a huge addition by picking up her voice the way it actually sounds. In addition to that, I've been trying out fingerpicking instead of picks and it changes the entire tone of the guitar, so hopefully it doesn't sound too muddy. If anyone hears what we're going for and has any suggestions on how to improve it I'd absolutely love to hear them. 
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Dec 30, 2011 00:13
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Chillmatic posted:EQ is almost definitely the problem. Roll off frequencies lower and higher than the kick actually hits at. Once you find a good sweet spot where the kick "lives", you can accentuate it without having to boost the overall level of the instrument. I think the vocals and guitar clash a bit since they both are sort of in the middle, I think that you could help cut them into two by boosting the mid-highs of the guitar and possibly play closer to the bridge, which should give it a more snappy sound. I really love the tone on that guitar, its just the problem with vocals and tone clashing. Another thing that you could try is to cut down a bit on (treble? reverb?) whatever is giving the guitar that roomy feeling, with only vocals and guitar it sort of sticks out a bit too much since the bottom is a bit afloat, if you know what I mean. I think I can hear what you're going after, and with the current setup it could work really well if you had a bass guitar and possibly a slow-tempo drumming to put it a bit on the ground, vocals is absolutely beatiful and the guitar is perfectly playing along so they both complient eachother really well, it's just the guitar that stick out a bit when they are alone. Hope it helps.
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Dec 30, 2011 01:09
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I was about to say that I really like hearing the room slap around on that guitar. I agree about a slight EQ cut on that guitar where the vocals are sitting. Not a lot, just a touch. Yay, ribbon mics! I effin' love those Coles mics. Also, your ending needs that surfy neck bend dip at the end. Just sayin' 
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Dec 30, 2011 03:52
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Hogscraper posted:Also, your ending needs that surfy neck bend dip at the end. Just sayin' Ha, I actually thought to myself as I played that chord that I wished I had a trem bar. Totally would have done that dip and added a little shimmer to it. quote:Yay, ribbon mics! I effin' love those Coles mics. I can't say they're underrated considering it seems like they're almost the standard for ribbon mics, but it really does seem like so many recording artists and studios I've talked to these days give me a blank stare or know what they are but seem confused as to why you'd want to use something 'old' like that. greggster posted:I really love the tone on that guitar, its just the problem with vocals and tone clashing. Thanks man. And yeah I definitely need to make a cut somewhere on the guitar, it's just hard to figure out where without killing the tone. Part of the problem is that I was trying to get the same room sound in the guitar as well as the vocal to give them a more 'live' feel, like the listener is sitting there in front of them both in that same room. I think that came through well enough, but yeah both parts do step on each other a bit sonically. I'll play around with a bit and see if i can find a good compromise to separate them enough. quote:I think I can hear what you're going after, and with the current setup it could work really well if you had a bass guitar and possibly a slow-tempo drumming to put it a bit on the ground, I definitely agree and most of our songs do have drums and a bass part. Although I am going through and reworking all the bass parts, as I just picked up a 1971 Gibson Triumph and holy poo poo it sounds pretty amazing. Thanks again guys for the feedback, it really helps to have different ears look something over. Chillmatic fucked around with this message at 17:08 on Dec 30, 2011 |
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Dec 30, 2011 16:55
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Vira posted:Anyone have any tips on creating a loud but deep bassy drum kick that doesn't completely overpower your speakers when you want every other instrument to still come through? Sidechain your stuff to the kick. It'll 'suck' the volume down with the kick drum.
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Jan 2, 2012 07:52
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So our band just recorded an EP and thing are sounding awesome except for one problem we're having. There's a song with four yell/screams in it and we recorded it by standing around a microphone. The problem is, the yells came out rather high and girly sounding (due to the ratio of M/F yellers). What's done is done as far as the recording goes but we'd really like a way to make the yells more ragged and up-front in the mix than they are now. The guy doing our mixing says he can't do much about it, and I'm sure he knows better than me, but I'm still curious whether there's any way to like...turn the gain up on the yells? This is like a rock/folk type song. The yells sound great live in a room, it would be great to figure out a way to make them less underwhelming on the track.
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Jan 3, 2012 22:24
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If you had melodyne you could turn the formants down, but I don't know how realistic that would sound. Maybe try pitching them down 3 half-steps or so in the DAW? I think its easier to go from female to male voice than the other way.
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Jan 3, 2012 22:27
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How would I go about making this awesome bass in DCAM: Synth Squad? Donkeyboy - City Boy I've spent days trying to make it now, and I just can't get that same "thwang" to it.
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Jan 4, 2012 00:07
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What kind of stuff gets used to get vocals like the Postal Service? Is it all auto-tune?
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Jan 4, 2012 17:19
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TyChan posted:What kind of stuff gets used to get vocals like the Postal Service? Is it all auto-tune? ??? That's how Ben Gibbard sings. He sounds the same as he does in Death Cab For Cutie. There is really not that many vocal effects in Postal Service songs. What songs are you thinking of specifically?
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Jan 4, 2012 23:04
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the Bunt posted:??? I dug a bit deeper and my friend told me that a song we heard last night was Postal Service. However, around the 3 minute mark of ]this video there seems to be some kind of filter or distortion on his vocals or is that some kind of overdubbed simulation of vinyl scratching? Is the stuttering around the 3 minute mark some kind of delay or chopped up sample?
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Jan 5, 2012 04:51
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TyChan posted:I dug a bit deeper and my friend told me that a song we heard last night was Postal Service. The vocal at the start - and in the background around 3:00 - just goes through heavy filtering for a phoneline effect, with what seems a lot of compression to dirty it up even more. There's more ways of getting this effect; like piping and remiking the regular vocal through a very small speaker or even headphones. I think the stuttering you hear is rapid "fader riding"; automated or via some sort of tremolo effect.
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Jan 5, 2012 10:53
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I'm trying to get that Love Removal Machine sound out of my Spider IV, but it's hard. The closest I've gotten is with a variation of green crunch, but I still can't pin it. It needs to be a lot sharper, not all fuzzy like it is now, but I doubt that I can get this "one size fits all" amp to get that close. Is there some sort of after effects program I could fix it up with?
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Jan 15, 2012 05:11
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Ulmeyda posted:https://www.youtube.com/watch?v=w1uQkIBTQlc In case anyone else was wondering even though this person was banned I'm pretty sure that's just a double-tracked bass guitar with a clean channel and a channel with a fuzz effect on it. Bass guitar is where my comfort zone is, I'm in this thread to go beyond that comfort zone. Anywayyyyy I've been messing around with Massive and am getting a feel for the controls, one thing I'd like to know how to do is how to make the short, stacatto sounding synth like in Toes by Lights. Any help would be much appreciated. http://www.youtube.com/watch?v=iI_vHoMtsBQ&t=0m22s
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Jan 15, 2012 07:07
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To make short "plucked" sorts of sounds, I usually just use a lowpass filter with a short Attack-Decay (AD) envelope. That's pretty much all there is to it! Here's a screenshot from Massive. http://i.imgur.com/DBJIS.png The only things I changed from the "new sound" initial preset were as follows: 1. Adding the filter (Lowpass 4) 2. Assigning envelope 1 to the filter (the "1" in the box below "Cutoff") 3. Adjusting the modulation to encompass the whole range of the filter (the blue line around "Cutoff") 4. Turning the sustain level of envelope 1 down to zero (In the large box below filters and FX) to make it an AD envelope. If you want the sound to be more gentle, you can roll off the modulation (making the blue line end before the max cutoff). Just using the settings above gets you pretty close to the sound in the clip you posted. I think beyond that there's maybe some distortion and you're there. Edit: Let me know if that makes sense, because I tend to babble. The Mystery Date fucked around with this message at 08:21 on Jan 15, 2012 |
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Jan 15, 2012 08:02
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I'm trying to get James Hetfield's tone using a Mesa Mini Rectifier through a Mesa Rectifier 2x12 cab. Does anyone know the approximate settings (gain, treble, bass, etc) he uses? An example: http://bit.ly/wVdwQz
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Feb 12, 2012 05:02
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I don't have an answer for your question, but that video just reminded me how loving awesome Metallica is.
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Feb 12, 2012 19:06
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