deep, phat and verby basses

smoothassilk said:
Yeah, that was pretty cool.
I was struggling to keep up when he was talking about the finer parts of maximus, but I really like the concept of putting reverb at the beginning of the chain, cause those iterations really emphasise it in a cool and weird way. Also reverse, add reverb, then re-reverse is a nice trick.

I feel that I could easily go away and do it myself, were it not for the fact that I can't EQ or compress properly :D
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Yeah, I got a bit lost as well. I don't use FL studio, so I'm not sure what's going on here and there, especially on my small computer screen and the FL buttons and knobs being so small. Not sure what he's clicking on at times.

I might check out some of his older ones as well... Maybe this one will make sense after that. I've also got an old version of FL studio on an old computer I might dust off and mess with.
 
Try using this method as a basis.. then take it a step further... create 2 XY controllers. Using one Parametric EQ and one XY controller, Link 2 of the bandpasses Frequencies to the X axis with varying logarithmic tension. do the same to the other 2 with an inverted logarithm. Link the levels to the Y axis the same way. Do the same with the other controller and EQ.

Now create a 3rd XY controller and link the axes to control the first two controllers as a master. Vary the response speed of the underlying controllers. Now you have one master expression controller which makes deep changes to the sound.


Holohedron

https://soundcloud.com/https%3A%2F%2Fsoundcloud.com%2Fholohedron-1%2Fholohedron-something-about-the-music
 
alz said:
Don't really get how he does the EQing for this.
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I think that's what holohedron just explained in the post above. I see how his EQ automation moves on the screen, I don't know FL Studio much since I don't use it so I'm hoping that what I see is what I get kinda thing. I just need to recreate the EQ automation in ableton.

A got lost on the video for sure, but what I took out of it was get a nice reese, throw reverb on it, get some nice band pass automation, compress the sound up again, then repeat over and over with little tweeks and effects along the way.

:: sent from android with tapatalk ::
 
Nothing wrong with wide/fat bass but always do a mono compatibility check. If there is no easy way in your DAW get a plug in that will sum to mono. Listen to see if you have a lot of tonal change/cancellation/ level changes.. it is a fine line between nice and wide and unacceptable in mono. When mixing and especially for bass in D&B this should be standard procedure.

cheers

Barry Gardner
SafeandSound Mastering
Audio mastering video
 
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SafeandSound said:
Nothing wrong with wide/fat bass but always do a mono compatibility check. If there is no easy way in your DAW get a plug in that will sum to mono. Listen to see if you have a lot of tonal change/cancellation/ level changes.. it is a fine line between nice and wide and unacceptable in mono. When mixing and especially for bass in D&B this should be standard procedure.

cheers

Barry Gardner
SafeandSound Mastering
Audio mastering video
Click to expand...

Nice video, studio is looking pretty legit man.

:: sent from android with tapatalk ::
 
These are pretty deep and verby:

https://soundcloud.com/artifexstudios%2Fsine-compression-filtering-repeat-sampler-reverb-multiband-compression
https://soundcloud.com/artifexstudios%2Fsine-compression-filtering-resampling-reverb-repeat

Copy from Neurohopforum:

I started with a wavetable I created in Serum that goes from a sine wave to a more softclipped sine wave on the WT-pos, then I mapped that to an LFO to create some subtle movement before running it into a compressor. I used 'the Glue', 0.01 attack, 1.2 release, -20db threshold, soft clipping on and then bring up the make up gain to taste. Next I added a notch filter with some heavy automation sweeping up and down pretty random, followed by another compressor to even out the levels. Now I filtered out all the sub frequencies and sticked a clean sub underneath. Bounced this to audio for the next step. Now I made some copies of this bounce but then some stretched and others pitched up and bounced these as well.

Now I took these files and put them all in instances of the Ableton sampler. From now on it's all been pretty much guesswork but I can try to describe. In Abletons sampler there are a few things I've used to achieve these sounds, mostly just playing with the start position and the loop markers, this is really powerful. Combine that with pitch envelopes, more filtering and/or some FM using the OSC tab in Sampler. I also put the Sampler to monophonic with portamento and create some glides here and there. Finally just go nuts with automating anything like the pitch envelope or filters for super morphing stuff.

Lastly I've added some reverb to it, but make sure that the reverb only affects the mids and highs. Then some multiband compression to even out the levels one final time.
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