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Spencer Krug's 'Sunset Rubdown' project started as something a lot different to what it evolved into - specifically, a song called 'I Know the Weight of Your Throat' I've always loved and been curious about. Is the main instrument in this song a guitar, or is there something layered on top? How does it sound so "sour" - is it just tuned down a few steps? What would I need to do to do something similar? The song: https://www.youtube.com/watch?v=27IEQL9fMUE Thanks!
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Apr 4, 2013 13:01
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Here's a dumb one. Any ideas about vocoder settings/software for getting something similar to The Land of Rape and Honey-era Ministry vox? I know its probably some hardware box but I just can't nail it down in software land.
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Apr 4, 2013 19:22
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http://www.youtube.com/watch?feature=player_embedded&v=PQdBqruSJNc#t=73s How do I get that bassline? I get the actual sound, the slower attack on the filter envelope, etc. but what I don't really get is the reverb thatt they've used. Sounds good.
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Apr 5, 2013 02:56
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HotCanadianChick posted:Buy a guitar. No, seriously, it is easier to actually learn to play a guitar than to try and make a good imitation of one using only synthesizers/samplers. A large part of the way guitars sound is dependent on the techniques they are played with, techniques and skills that do not even remotely apply to keys-based instruments. poo poo, I was hoping that would not be the case. I don't have anywhere near enough money or time to do that. Im probably going to have to convince some guy from my college to play a guitar for me, and I have no idea how long that would take, or if I would be successful.
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Apr 5, 2013 03:10
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I am the M00N posted:poo poo, I was hoping that would not be the case. I don't have anywhere near enough money or time to do that. Im probably going to have to convince some guy from my college to play a guitar for me, and I have no idea how long that would take, or if I would be successful. Craigslist and a case of beer. Or learn strong string synthesis.
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Apr 5, 2013 03:15
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WAFFLEHOUND posted:Or learn strong string synthesis. Can you explain this to me?
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Apr 5, 2013 03:40
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Not a chance, beyond my understanding: https://en.wikipedia.org/wiki/Karplus%E2%80%93Strong_string_synthesis
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Apr 5, 2013 04:04
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Alright so I posted too much and was too drat wordy without knowing a drat thing last time so after finding out most of what I'd like. This time I'll keep it simple. What pedal would I look for to replicate the noisy roomy effect of the rhythm guitar on this song? https://www.youtube.com/watch?v=Y40cNWYjSGI
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Apr 5, 2013 19:25
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Could someone please help me identify what effect(s) Cliff Burton uses with his bass on Call of Ktulu? Specifically, bits like at 1:34, 1:41, 1:54: https://www.youtube.com/watch?v=t1RTgznup5c
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Apr 8, 2013 01:37
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This should be pretty easy: What's the best way to go about getting a deliciously cheesy 80s saxophone/generic brass patch that sounds like this? The player in this song is using an Akai EWI, which I'm pretty sure is only a MIDI controller without any internal sound creation. Anyway, I'd like to sound exactly like him.
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Apr 8, 2013 04:58
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I actually bought SOS for the eurorack article and happened to stumble over this. https://www.youtube.com/watch?v=2FM2g-lVMR8 had to post it. "now if i turn up the S E... the sex knob there"
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Apr 8, 2013 06:27
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Nosy_G posted:Could someone please help me identify what effect(s) Cliff Burton uses with his bass on Call of Ktulu? Heavy distortion and a wah wah pedal is what I recall him using whenever he wanted to do crazy poo poo&solos, I think a lot of the sound also came from him using a rickenbacker and playing very strong near the bridge.
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Apr 8, 2013 13:58
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How do I get good sounding minimal percussion (if that's the right term) like this? https://www.youtube.com/watch?v=HmIzfp2Q_kU&t=145s It feels like I'm getting what I want when I work with a single drum, but putting them together they always feel far too heavy.
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Apr 11, 2013 23:37
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Highpass filter everything, especially snares. Tune snares up a bit. Use envelope decay to cut as much of the tail of percussion samples as you can get away with. You want just the initial transients and a tiny 'psh'; just enough to help identify the different sounds. On 'plip' sounds, put a small EQ peak on the frequencies already most prominent in the sound. Or, depending on the source, you might have a filter envelope to gently caress with to put a bunch of resonance on the right frequencies to make it 'pop' literally. If you want reverb on some of the sounds, use the gated reverb approach. Leave the sounds dry otherwise. Then try not to fill up all the gained space with overly complex patterns, obviously 
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Apr 11, 2013 23:56
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I've dug out an old Fender Pbass and I just want to jam some easy pop songs with friends before I worry about learning proper songs etc. The amp I've procured is a Warwick Sweet 15.2, it has this panel on it:  (Don't worry it's my own hosting) Sorry for the bad picture but it's all I could find, The numbers along the bottom are '70, 140, 210, 420, 720, 1.2k, 2.5k, 5k' with '+12, +6, +3, 0DB, -3, -6, -12' along the side. What I'm wanting to know is where I'd start to play with the sliders to get a sound like Mark Hoppus in Blink-182, that really clickly punk tone. Obviously I'm going to play around myself but I don't know what these numbers mean so just a starting position you guys would try would help alot. Thanks.
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Apr 14, 2013 06:04
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Veg posted:I don't know what these numbers mean They're frequencies along the X axis and volume along the Y. If you want a plinky sound, I'd start by cutting the lower frequencies (on the left) and messing around with selectively increasing some of the ones further right.
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Apr 14, 2013 06:17
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Lhet posted:How do I get good sounding minimal percussion (if that's the right term) like this? Along with Flipperwaldt's great suggestions, you should try and get some Transient Designer type plug-ins in your life. (Flux BitterSweet is one free option but different implementations can sound, feel and respond radically different.) Alternatively, try applying some ultra-fast gates that don't close completely. Edit: A good trick for effecting sharp ticky percussion is to parallel process it so that one channel has just the dry transient attack, whilst the second buss is the pure sustain - without attack - that is fed to your chosen effects chain. ynohtna fucked around with this message at 16:47 on Apr 14, 2013 |
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Apr 14, 2013 16:16
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ynohtna posted:Edit: A good trick for effecting sharp ticky percussion is to parallel process it so that one channel has just the dry transient attack, whilst the second buss is the pure sustain - without attack - that is fed to your chosen effects chain. I guess I could get by without transient designers by just starting off with two separate sample tracks; one for the transient and one for the sustain. That gives me the power to pick two different samples, one for each role.
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Apr 14, 2013 18:06
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WAFFLEHOUND posted:They're frequencies along the X axis and volume along the Y. If you want a plinky sound, I'd start by cutting the lower frequencies (on the left) and messing around with selectively increasing some of the ones further right. Thanks man, I ended up with this: http://tindeck.com/dl/tmju, rough enough.
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Apr 15, 2013 03:45
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Could someone tell me what effects/devices this guy has mapped to the faders on his keyboard thats making things glitch out and speed up and slow down? http://youtu.be/xvmTav3SYsc?t=2m This might be a question better asked in the ableton thread but thought I'd try here first.
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Apr 17, 2013 19:22
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ynohtna posted:Along with Flipperwaldt's great suggestions, you should try and get some Transient Designer type plug-ins in your life. (Flux BitterSweet is one free option but different implementations can sound, feel and respond radically different.) I understood all of Flipperwaldt's suggestions for this but this is all new confusing to me. Could you explain some of it again assuming I'm a total moron, or point me to some good resources? This sounds useful for a track I'm working on.
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Apr 22, 2013 22:34
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 This is a percussion sound. Typical of a percussion sound is that it can roughly be divided into two sections: the transient (group) (left of the red line) and the tail (right of the red line). The transient is the part that snaps, ticks, pops; the tail is what provides texture, space, room. If you're using a sampler, you can easily hear what each part does by increasing the attack/start position value of a sample to hear the tail or by adjusting the decay value to something small to hear the transient. Transient Designer type processors attempt to provide control over the balance between the two. Some do this by having peak detection algorithms (like in a compressor) coupled to an envelope (like in a synthesizer), others use compressors, equalizers, perhaps even exciters in their internal processing. What they have in common, is that they differentiate between transients and tails (well, restfraction) and process them differently. Which is a useful concept for the purposes of minimal percussion, because you can separately accentuate the popping element of the sound without affecting the tail. The suggestion to use a partially closing gate works from the same idea. The initial transient will open the gate and pass through. Because of the fast timing and the lowering sound level, it will then immediately close. But because it doesn't close entirely, the tail will pass through as well, but severely attenuated. Thus giving you some control over the relative balance between the two by adjusting how much the gate stays open. Note that not all gates have this option. As a crappy alternative, you could prepare some samples in a wave editor, by selecting the tail part and scaling it down a bit. The last tip is to start out with two prepared samples: one that provides the transient, the other the tail. They play the same pattern and would be perceived as one percussive sound. But should you choose so, you're free to adjust their levels individually or route them through a separate processing chain. You have ultimate control over that aspect. The thing with reverb for example is that if you route the entire percussive sound through it, that the transient will give the reverb an almost delay-like quality (on a theorethical level). This will fill up empty space between notes with ghosts of that note, thus muddying up the empty space between notes you need for minimalist percussion. If you only route the tail part of the sound through the reverb, you severely reduce that problem and end up with a softer ambience that won't interfere with the pattern, but will just provide some space. You could in a similar way tighten up the blurring effect distortion can have by applying it either to the transient or the tail only (depending on the style of distortion and the effect you want to achieve; snappier or crunchier). Or apply a filter selectively; higpass the tail of a snare to avoid overcrowding the low end without losing punch in the transient. The sky's the limit if you put in the work. Now admittedly the line between transient and tail isn't always going to be that black and white and that part about the reverb is almost metaphorical, but I don't know how to explain it better. Hope it at least helps with the understanding of some of the aspects of it.
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Apr 23, 2013 00:07
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Pen Expers posted:Could someone tell me what effects/devices this guy has mapped to the faders on his keyboard thats making things glitch out and speed up and slow down? My first guess would be the Ableton delay device - right-click on it and you can choose how tempo changes are handled. The modes should be repitch, fade and jump; what you want is repitch, because this simulates how tape acts when you change the tempo. You can hear a similar effect here at 1:29: https://soundcloud.com/sebastienleger/format-b-dog-tag-sebastien-leger-remix-formatik-records
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Apr 23, 2013 06:51
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I want to say that for everyone who is totally stumped on how to make a sound from a specific song, depending on who the artist is you might have some luck e-mailing the artist if you can find a contact for them. I was wracking my brains trying to source the specifics of the bassline to Buddha Nature which to me sounded like an ordinary SH-101 psytrance bassline right up until they lowpassed it. I decided to send them an e-mail, and within ~12 hours they got back to me telling me it was sample based. Always worth a try if you're stuck.
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Apr 23, 2013 15:57
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WAFFLEHOUND posted:I want to say that for everyone who is totally stumped on how to make a sound from a specific song, depending on who the artist is you might have some luck e-mailing the artist if you can find a contact for them. I was wracking my brains trying to source the specifics of the bassline to Buddha Nature which to me sounded like an ordinary SH-101 psytrance bassline right up until they lowpassed it. I decided to send them an e-mail, and within ~12 hours they got back to me telling me it was sample based. either that or you're gonna get a lot of mails saying "it's sample based"  e: Laserjet, thanks! Thats a pretty vital function to hide away in a right click menu, especially when the simple delay is so small anyway. I need to re-read and re-read the ableton manual I think. utamaru fucked around with this message at 16:44 on Apr 23, 2013 |
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Apr 23, 2013 16:40
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utamaru posted:either that or you're gonna get a lot of mails saying "it's sample based" They actually told me where to track down the sample they used, but I felt it was kind of a dick move to post it.
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Apr 23, 2013 16:56
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WAFFLEHOUND posted:They actually told me where to track down the sample they used, but I felt it was kind of a dick move to post it. well that is just straight up really cool. props to them for being awesome! (and remembering what sample it was)
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Apr 23, 2013 16:59
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Laserjet 4P posted:My first guess would be the Ableton delay device - right-click on it and you can choose how tempo changes are handled. The modes should be repitch, fade and jump; what you want is repitch, because this simulates how tape acts when you change the tempo. Thanks, that repitch mode was what I was missing.
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Apr 23, 2013 17:34
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Flipperwaldt posted:Now admittedly the line between transient and tail isn't always going to be that black and white and that part about the reverb is almost metaphorical, but I don't know how to explain it better. Hope it at least helps with the understanding of some of the aspects of it. That's perfectly clear and fascinating, thank you! That's a totally new concept I've learnt there.
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Apr 23, 2013 17:51
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utamaru posted:e: Laserjet, thanks! Thats a pretty vital function to hide away in a right click menu quote:I need to re-read and re-read the ableton manual I think.
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Apr 23, 2013 21:37
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Looking for a couple sounds from this track: https://soundcloud.com/kpdrecords/02-1 First the short drum sequence appearing at 0:45 and 0:55. Have a feeling this might just be "pick the right samples and reverb correctly", but I'll ask anyways. Second is the echoing sound at 3:29, 3:40; I'm not really sure where to start with that.
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Apr 25, 2013 22:45
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Lhet posted:Looking for a couple sounds from this track: https://soundcloud.com/kpdrecords/02-1 Ugh, what is up with that high-pitched ringing. The first one sounds like a pitched Amen break layered with punchier drum hits. For the second I'd try a short tonal pluck sound and a long bright reverb (plate maybe? I don't know a lot about reverb). Possibly try compressing the tail to make the falloff more gradual.
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Apr 25, 2013 23:53
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Can anybody tell me how Zomboy makes that dirty growl synth at the beginning of every measure? It's really short, and sounds like he's using the Performer function in Massive to automate a cutoff in one of the synths or something to get that growl/drop effect, but I'm not sure... Maybe it's actually just a really short synth paired with another? http://youtu.be/Odt_7AEE-XM It can be heard from 0:55 - 0:56 I notice a lot of dubstep songs lately have that effect. Is there some general way of getting it? Bass resampling? A lot of knob turning? I'm stumped. The same sound/effect can be heard here at 1:32 to 1:34 - https://www.youtube.com/watch?v=zZjGSpUqxEs Thanks guys! I'll forever be grateful if I figure this out. E1M5 fucked around with this message at 23:31 on Apr 29, 2013 |
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Apr 29, 2013 23:27
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This prog-psy bass: http://www.youtube.com/watch?feature=player_detailpage&v=aK7u5rM9nQk#t=728s I can get the sound roughly, short attack/quick release saw, but the problem I'm having is that I can't seem to make it without getting a fuckload of extra low end and I don't have a high pass filter on hardware (and when I try a software one it sounds like poo poo anyways). I'd love some advice on making that kind of sound.
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Apr 30, 2013 05:18
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You could try a thin pulse wave and adjust the pulse width, I've found if you go from 0 to about 10-25ish percent duty cycle it sounds similar to high-passing a saw. Exact values may vary on your synth, I've a Blofeld. Mind you this assumes you want the HPF for trimming frequencies rather than just doing the open filter high resonance trick.
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Apr 30, 2013 10:03
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you dont HAVE to use highpass, sometimes you can get away with a low shelf. Try it! I use high shelves to control all my basslines' HF content, just to balance it. invaluable. I know for a fact many amateur/bedroom producers ignore these completely, but they are very very powerful tools.
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Apr 30, 2013 10:07
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I gave shelving a try last night without too much success, too much of the sound is hanging out in the lower frequencies for what I was trying. I'm trying to do this on a Phatty, for what it's worth.
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Apr 30, 2013 14:29
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Turn the root octave on the oscillators up one octave, adjust the filter cutoff to compensate. You can still have plenty of bass with the oscillators at 8' instead of 16'.
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Apr 30, 2013 14:58
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E1M5 posted:Can anybody tell me how Zomboy makes that dirty growl synth at the beginning of every measure? It's really short, and sounds like he's using the Performer function in Massive to automate a cutoff in one of the synths or something to get that growl/drop effect, but I'm not sure... Maybe it's actually just a really short synth paired with another? You're on the right track with the Performer, use the saw shape synced to 1/8 or similar depending on tempo and use it to modulate the Wt-Position on harmonic-rich (ie buzzy) waveforms. Alternatively you can modulate a low pass filter, or, for a different vibe, leave the filter open and use the Performer to modulate the Intensity when the Oscillator is set to Spectrum. You generally want to be using waves with a lot of harmonics, and make use of the Sine Shaper and hardclipper insert units, plus tube distortion and the Dimension Expander fx units. Don't forget to make use of the macro knobs! Map them to common, useful parameters such as Wt-position, filter frequency, lfo/perf rate, get a simple midi bassline (dubstep is very often in either F# or G# because these notes have really good fundamental frequencies for strong subbass) looping along to your beat and tweak the knobs, see what effect changing each parameter has on the sound. You can get some huge variations out of a single module just by the speed and amout you modulate it by!
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May 1, 2013 23:11
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| # ? May 25, 2024 17:55 |
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E1M5 posted:Can anybody tell me how Zomboy makes that dirty growl synth at the beginning of every measure? It's really short, and sounds like he's using the Performer function in Massive to automate a cutoff in one of the synths or something to get that growl/drop effect, but I'm not sure... Maybe it's actually just a really short synth paired with another? All of that stuff is just: Two oscillators an octave or two apart > Modulation > Distortion > Slamming the master. When it comes to modulation, simple envelopes are more effective than crazy automation, combined lfo's and other toys. Try modulating the pitch with an envelope and tweak the delay and attack to the get different effects. I do a lot of micro-editing of that kind of stuff in more of a mixing job. I like doing the heavy-lifting during the sound-design process. For example, I like thick, ridiculous sounds and if I don't want one to clash with the kick - I will use a high-pass filter and tweak the delay/attack of the envelope. It takes 30 seconds and allows me to do more creative stuff while mixing, as opposed to dealing with issues. Also, if you've grown up with massive, try not using complex wavetables for once. It's a lot of fun to figure out distortion, especially since it amplifies even the tiniest bit of modulation.
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May 2, 2013 02:13
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