Try using different noise oscillators for the left and right channels, or just use stereo mode in Sylenth (with one noise osc, but don't forget to disable retrig).  Trying to make a mono noise wider may not give you the best results.  The right EQing is also very important but there's no universal formula as it all depends on your other layers.  You may want to try to let some lower frequencies pass through, it may help you glue your layers together.  Also using distortion/saturation on the white noise layer may help it cut through the mix.  BTW, 4-5 layers is pretty standard for those Anjuna/Enhanced style supersaws.  I've actually seen more (up to 8 ), and with clever mixing it sounds awesome.

Yes, that's exactly how non-linear phase EQs work, and yes this happens due to a phase shift near the cutoff frequency.  However, if you only do minor changes with a wide Q, you should be fine.  Sharp cuts may mess up your low end, so it's better to avoid them on the master (my opinion).

They do use a lot of samples (mostly bass stabs), but otherwise it can be a chain of distortion plugins applied to a simple synth sound.  For example, try adding a WOW filter, iZotope Trash2 and FF Saturn in sequence to a simple Sylenth1 patch and see what happens.  You need to be careful with the plugin parameters to find the sweet spot (otherwise it just sounds like a distorted mess).  Layering also helps (i.e. use a separate sub layer underneath).

That's how a standard (non-linear phase) EQ works.  It shifts phases around the cutoff frequency and this results in a DC offset.  Try switching to linear phase and see what happens.

Haha thanks for the kind words, and for posting my video!  I think N&R basslines are awesome, and I've been really inspired by that type of sound myself.  From what I've heard, Bruce uses a lot of samples, so it's a matter of combining sounds that fit well together and processing them accordingly.  I've shown my method in that video, and even though it may seem overly complicated, I still do it that way.  Basically, I start by loading a bunch of samples and/or synths to cover the following categories: "farts" (for the lack of a better word, haha) - for continuous notes, "stabs" for building the groove, FX for filling up the gaps (could be reverb tails, etc), sub bass, and a few percussion hits to accentuate some bass notes.  Once I have these categories loaded up, I start building the groove by placing those sounds where they need to be (according to some initial idea that might be playing in my head), and move them around until it sounds good. Some 20 versions later, this may turn into a decent bassline, or go to trash.

And yes, that DeVas bassline is really good!  I think they have a pitched-down sub bass note in there which gives it that wobble effect.  Really nice work on the sub overall.  Also check out some recent Fatum tracks (Tryst, Take Me Back, Hold On remix), they all have immense basslines!

Quote from: Axis on February 18, 2016, 06:48:19 pm

Just keep in mind that a sharp cut creates a phase shift around the cutting frequency, so even though you can't hear much below 20Hz, the phase shift created by the EQ will definitely affect the overall balance in the low frequency range, so you need to be careful.  Using a linear phase EQ might help, but you need to watch out for transient smearing.  To summarize, I try to avoid sharp cuts or boosts on the master, and always get rid of unwanted frequencies on individual channels or busses.

Article by Ethan Winer regarding EQ and phase shifts and what your sound really experiences. Interesting read nonetheless

http://ethanwiner.com/EQPhase.html

Articles are great, but it's always useful to check for yourself.  Open up any synth, make a simple saw wave patch, and play a low note (say, C2).  Then add an EQ with a sharp cut around 30Hz.  The fundamental of the C2 note is around 65Hz, so you should hear no difference, right?  Try for yourself, the difference will be quite audible.  It will become obvious if you look at the waveforms (1st one is no EQ, 2nd is with EQ - I used FF Pro-Q2 with a 36db cut at around 30Hz):



Moreover, without the EQ, I have -6.8db of headroom (top picture).  With the EQ, all that headroom disappears due to the phase shift introduced by the EQ.  This can be fixed by switching to linear EQ mode (in which case the waveform will not be affected), but linear phase EQ adds smearing to fast transients.

I think the reverb is enabled just for the DJ intro/outro, when the kick is high-passed.  It's a nice way to fill up the intro/outro a little bit, but if enabled in the main parts of the track, it will just muddy up the mix.

He clips his masters like crazy:



Mixing is important though - if your mix is bad, clipping the master will sound awful.

P.S. This could also be the Invisible Limiter pushed really hard.