That Golden Crunch

Discussion in 'Production' started by Howitzer, Aug 7, 2013.

  1. Howitzer

    Howitzer Active Member

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    I was wondering if any of you more experienced producers out there could help me discover that crunchiness in my bass I'm desperately seeking.

    see:




    So I'm not coming here totally blind, I have tried to emulate this myself for quite sometime, but I guess I'm just shite, so need some direction.

    Scooping out the mids seems to be working well so far, that and a metric ton of distortion & feedback, but its not good enough. Any one got any tips?
     
  2. Therapy

    Therapy Member

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    Been trying to get this sound for a while now aswell. No succes so far though ...
     
  3. underspawn

    underspawn Headz Roll

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    Well, you won't find the answer on a forum that's for sure.
     
  4. Mr Fletch

    Mr Fletch aka KRONIX

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    Right

    Try creating your midrange bass totally separate from your subs. Some will say to frequency split your basses, which can work well, but I get the best results using this technique. I usually start out by creating a melody / riff with a nice solid sub bass. Once done, I'll put the sub channel in mono, and roll off all the high end down to around 100hz (you could go lower, but I modulate my sub bass to bring out some small harmonics here and there so 100hz is perfect for me)

    Now for the crunchy midrange, a lot of people will tell you a million different oscillator combinations to achieve what you want, but again, after much trial and error, I have found you cannot beat a bog standard, simple, low octave saw wave.....nothing else from the synth at all, no unison, no modulation, no overdrive........NOTHING! All the movement and diversity comes from what you add after the saw wave synth.

    Again, there are so many combinations of FX chains you can use to get the desired effects. My usual routine begins with Sugarbytes wow filter with vowel mode enabled, on a band reject filter turned fully to the right. From here I'll add some chorus, with varying dry/wet depending on how wide I want the sound to be. After this I will add an EQ with two sharp notch filters around the midrange area of the frequency spectrum and I'll link those to a pot wheel on my midi controller, reversing one of them so when I twist the wheel, the notches will modulate in opposite directions, giving the desired movement.

    Depending on how much movement you require, you can also link up the wow filter, and dry/wet of the chorus all to the same pot wheel for maximum effect.

    That's the basics of it really. You can go crazy from here, maybe you will want to export a clip of the channel, with some movement, and bring it back in, and throw on another wow filter or some distortion? adding more movement along the way? choices are endless, the hardest part is knowing when to stop and say that the sound is done!

    But I'll reiterate on what I said earlier, my best results have come from playing around with a simple low octave saw wave, nothing else. I've spent years trying to perfect my basscraft, using a multitude of different combinations ands effects. This may work perfectly for you like it did me, or you may use this technique and stumble on something better, it may even be useless to you....who knows, but it cant hurt to try right?
     
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  5. Binary_UK

    Binary_UK Binary.

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    Hardware. you simply cannot get that sound with software, you can get it to sound nice and close but never on that level, the likes of Hazard, break, Die, Xtrah all use hardware synths which are pushed really hard to produce that really warm sound
     
  6. Mr Fletch

    Mr Fletch aka KRONIX

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    Rubbish! Of course you can!
     
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  7. Dark Lizardro

    Dark Lizardro The Lizard that has a hammer Staff Member

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    Although I'm no expert, I agree with this statement. Otherwise, we'd be all doing music on 80's paraphernalia, not desktops (or laptops for some).
     
  8. Howitzer

    Howitzer Active Member

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    nice one Mr Fletch! I'll be giving that a go tonight!
    Youre right, experimentation is the key, its just knowing when to stop. I've been tempted to pick up an emu, but i dread the thought of timing up those LFO's properly, nothing beats midi sync!
     
  9. Mr Fletch

    Mr Fletch aka KRONIX

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    I've recently steered away from sync'd lfo's, they're far too generic. I find the best way to get good movement is to freely automate the envelopes via a midi controller, you can get much better variation to a sound that way.
     
  10. Binary_UK

    Binary_UK Binary.

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    Should of worded that better, you can get that sound, but noway near as good. Hardware is really king for this. Guitar Rig 5 has some great distortion units for this though.
     
  11. Balthazaar

    Balthazaar Member

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    All you need is massive,camel phat and eq.it is very easy to make this type of sounds.Try using minimal amount of plugins,and don't be afraid to use 2 or more instances of camel phat in chain:)