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Zuhzuhzombie!! posted:How close could you guys get me to a Queens of the Stone Age/Josh Homme type of sound? Sounds like he has the compression turned up. Gain on a few tube Vox's came close, but I don't think he uses those amps. Hey dude- first things first- tune down to C. Apparently, he only uses pedals for solos (a Tubescreamer, mainly), but the majority of his tone comes from Ampegs turned up loving L.O.U.D. For the classic Kyuss tone, you want something like a Big Muff through a baas rig to get that planet eating hum. Essentially kiddo, it's about getting the biggest amp you can, moving out to the desert, and cranking it.
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Jul 1, 2010 22:58
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Panterica posted: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? I can't really help with amp settings as he is a cagey bastard, but a lot of Hetfield's tone comes from how he plays. You need a really thick pick (.9 at least- his signature picks are 1.4) and really dig in. Here's Devin Townsend showing you how (from 3 minutes in): http://www.youtube.com/watch?v=102mdX-UEzI Also remember to keep the gain down less than you would think to retain clarity at volume.
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Feb 17, 2012 13:43
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50hz posted:I'm wondering if anybody who's experimented a bit with really aggressive bass sounds might know how to get close to the kind of almost hollow, yet heavily distorted sound that the low note in these bars http://www.youtube.com/watch?feature=player_detailpage&v=zzx7kt5w8_Y#t=149s manages to achieve. I hope you know what I mean, it's quite different from most other DnB bass sounds. I've been trying to get close to it with Izotope Thrash, but there's definitely more to it than amp emulation, although there is that feel to it. It's only a very short extract but if anybody could help me I'd be very grateful. The main characteristic of this style of DnB is detuned unisoned 'analogue' waveforms run through a notch filter (or often split into a few notch filters with different settings, multiband style) with a slow lfo. What synth/software are you using?
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Feb 18, 2012 02:45
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Cumfartcocktails posted:https://www.youtube.com/watch?v=UCVCQmxb7YQ It's a Roland TR 808 bass drum that has been sampled, stretched and mapped across the keyboard. What software are you using? in the meantime, here's a decent DOA thread on synthing TR kicks http://www.dogsonacid.com/showthread.php?threadid=325593
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Jul 7, 2012 11:31
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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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E1M5 posted:Thanks! I guess it's all trial and error for finding the right sounding wave tables eh? I'll sit in front of massive for hours just trying to find good combinations, but in the end It feels like I can never achieve that thick, smooth sound. It's always too raspy, or not "full" enough, if that makes sense. No sweat, ohnonotbadgers' advice is also good, especially the part about envelopes. It's all about experimentation. Everyone has their own way of doing these things, and (barring basic knowledge of synths) it comes down to fiddling and tweaking until it sounds good. The Groan, Digigrain, Drive and Digicook wavetables are all good for that modern dubstep sound, though after a while you'll be able to pick them out of other people's productions (as is the case with Modern Talking, it's been used sooooo much) so mix it up, try other waves- it's amazing what a difference the Phase setting in the Modulation Osc can make, even to a simple waveform like a square. Also bear in mind a lot of dubstep involves fairly heavy processing after the synth itself; filters, EQs, distortions. If you have an amp sim like Guitar Rig or Amplitube, try running Massive through the pedals in those, and definitely look into multiband distortion, my favorite is Ohmicide. Multiband effects (distortions, filters, compressors etc) split the incoming signal into a few (normally 3 or 4) bands across the frequency spectrum, so you can leave, say, everything under 90Hz clean (for that sub weight) and only distort the mid/high frequencies. It's also common to have a dedicated sub (sine or triangle, something simple) playing underneath the distorted 'mid bass' tones, so you could make your Massive patch, put a highpass on it somewhere between 100-200Hz, then copy the midi pattern to whatever you are using for the sub bass.
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May 12, 2013 19:21
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The hiss in that Beacon track does make it sound like it could be a sample, there's a weird noisy bit of attack on there, and it seems to track with the riff as it goes up the scale. The main wave itself sounds kinda Squarey to my ears (though I am admittedly just listening through my phone's speaker). Use a slightly enveloped low pass to make the tail and a moderate volume envelope with sustain about halfway up on the noise. If FM isn't quite getting you there then a phase modulation synth maybe could? It sounds kinda 80s Casio-ish to me. If you can get the basic sound of the root note nearly nailed then render it and load it into Simpler to play.
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Jun 10, 2016 13:54
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Hey now, the FM synth in Caustic is very useful for stopping my dogs in their tracks when they are being dicks. Caustic is fun little toy for when you have 10 mins or need to get a melody/rhythm down before you forget it, though I can't see making a full track on there working out too well NonzeroCircle fucked around with this message at 15:05 on Jun 10, 2016 |
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Jun 10, 2016 15:03
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I'm only using it on my phone atm, was unaware there was a windows version. It reminds me of how Reason was back in the day, 2.5 was my first "real" music software.
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Jun 10, 2016 16:13
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