![]() ![]() If you use massive, make a new sound, then change the 1st osc to a sine wave, then, go into the Modulation Oscilator, turn on phase mod on osc, then change the semitones to 12, then get an envelope an put on the phase knob, and make sure the blue part of the env is on the phase knob, and turn the knob all the way to the left, then turn the blue part up to about 9 oclock, then mess around with the envelope Shaping sines and FM is something i haven't really gotten into yet but i suppose that's more for the youngsta/icicle/joker d type basses (see the vid, it's just a guess though. I'm not a fan of modulating wavetables or overly screechy and fucked up sounds, and i couldnt imagine making a neuro bassline out of squares Idk, i currently think about layering some granulized and timestretched shit with a classic filtered reese, somehow involve a vocoder (but that has to wait until i find one i'm willing to buy, all i want is a really good formant shifting function) and i guess that's it. however i want to understand the sounds, that desire was what got me into production in the first place back thenĭepone wrote:Not even half neuro basses these days are reeces. With this i'm just guessing but i think there could be granulized samples on top of that bassĪnd inb4 "you should rather spend the time finding your own style", i'm dead serious when i say that i don't want to make any kind of dark neurofunky music. i also think granular pitchshifted sounds can add a lot of throaty high-end to a tune. Sometimes i even have the thought of a giant conspiracy of bass music producers, sharing all their knowledge on secret message boards or somethingĪnyway, i'm now 100% sure vocoders are involved in a lot of sounds. and i know by the time i figure out the techniques the innovators from way back will have moved on already. now we have those new, more organic basslines. and exactly at the end of that decade i figure the whole thing out. but these sounds have been the foundation of darker dnb basslines for about a decade. most moving reese sounds are fairly simple, the real difficulty lies in getting the filter automation right. I spent the last hours listening to lots of different dnb tracks trying to find any clues to that modern sound, and i suddenly had the thought that. sometimes i wish i had started seriously learning production 3 years earlier. Try it, you'll like it! it's definetly the key to all sorts of current neuro sounds. cba to make matching automation for the vocoder tonight as i'm REALLY pissed from not finding any good drum samples on my HDD which killed my production buzz but i'll try and upload something tomorrow. I tried fiddling around with a vocoder in your project file and got some sick (and definetly state of the art neuro) sounds, but only for split-seconds when the bandpass and my tweaking of the shift knob fit together perfectly. ![]() Oh lawd i just noticed we have the same combi patchĮither loki's tutorial or we both are using bp at the end of the chains its really all about the effects change that gives it the moving effect ![]() ![]() I use ohmicide to get the distortion and also use a lot of modulating effects like a phaser and flanger and if you have another filter like a wow filter use it and automate the cutoff. Mannyyyyy wrote:ive been starting to make these types of basslines for about 2 weeks and mostly automate the filters and automate wavetables. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |