Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - clearskys

Pages: 1 2 [3] 4
31
Sound Design / Re: Deep, Groany, Horn Bass like Jonas Rathsman/Anjunadeep
« on: January 07, 2016, 01:35:01 am »
Quote from: mcgold on January 06, 2016, 02:07:25 pm
Hey Everyone,

This is something I've been working on for weeks now and I just can't seem to get my basses tight enough to really scrape the deepest depths of my soul like Jonas Rathsman and a few Anjunadeep artists have been doing lately.

It's that bass-but-almost-a-horn sound that they've been using a lot in recent tracks, examples below.

Examples:
1. Wolfsbane @ 1:03 - https://youtu.be/u5VYDvZT3c8?t=59s
2. New Generation @ 1:01 - https://youtu.be/WWcn1srWJfM?t=1m
3. Know Me - Meramek @ 0:31 - https://youtu.be/BfxO1-Rhgpc?t=28s

Here are my takes on it so far in Ableton using Trillian (Taurus pedals) and Diva (just messing around with automating LFOs)...my attempts include a lot of selective and sharp EQing, Overdrive, some compression and a little saturation...but they just aren't there yet.

3. https://clyp.it/4xdoiee3
4. https://clyp.it/agr2vkud

Also let me know if maybe its just my drums that suck and that's holding it back...

Any help is appreciated, thanks!

Hey mcgold,

Just wanted to get back to you on this as promised. So as I figured, it was an envelope issue on the filter that makes this entire sound up.

Here's my attempt: https://clyp.it/ga1a1ofi

Basically, there's 2 parts.

1. A small saw that's detuned that doesn't have the attack cut off at all, so you get the full transient through.
2. 2 saw OSCs detuned against one another slightly, with a envelope controlling the filter, which gives it that resonant, tuba-like feel. There's an attack of about 8ms on the filter, and that seems to be just right IMO. The sustain isn't all the way up - envelope looks something like this:



A big part of the sound is making sure there's a spacial component to it - I added a reverb that's about 2 seconds long with a 50% wet on it. But yeah, that's pretty much it. There's a saturator on the Horn sound to give it some grit, as well as an EQ peak decrease at around 500hz because my version was a bit muddy pre-EQ.

Let me know if you have any other questions! :)

32
Samples/Plugins/Software/Gear / Re: Performing Live, Playback, Sync
« on: January 06, 2016, 06:26:12 pm »
Quote from: atris on January 06, 2016, 06:15:29 am
I'm gonna be 100% honest, sample syncing and stuff goes way over my head and I have yet to figure it out, I'm sure I will one day but at the moment, it confuses the heck out of me. If it's not too much trouble for you, some links to tutorials would be greatly appreciated.

Oh, and atris, this might interest you as well: http://www.presonus.com/news/articles/sample-rate-and-bit-depth. Good info. :)

33
Sound Design / Re: Deep, Groany, Horn Bass like Jonas Rathsman
« on: January 06, 2016, 06:16:16 pm »
Heh, those are great sounds. I've been hearing them a lot on Anjunadeep as well. I think you're just not automating the cutoff correctly to really open the synth up. I'm not able to spit out a render at the moment, but I'm commenting for now because it is something I do want to revisit. Be back in a bit.

*Your drums are fine BTW. I'd like some tips on those shakers in Example 2 - they sound sick. :)

34
Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 06, 2016, 02:31:35 pm »
Quote from: jimba on January 06, 2016, 05:30:33 am
Quote from: clearskys on January 06, 2016, 03:55:39 am
Other times, I just take non-kick like sounds and just squeeze and warp them in any sample editor until they sound like the various parts of a kick.

What kinds of non-kick like sounds do you find gives you the most interesting results? Like short organic samples of random objects? I've gotten some pretty cool snare sounds by layering them with recordings of the crunch of me biting in to a chip..

Yup, organic sounds. Sometimes I'll just record a part from a movie that's saturated with low-end content. LOL, I used a scene from Attack of The Clones that had a huge explosion on Geonosis and just turned that into a kick drum by squeezing and warping it.

It's all stupid shit that's fun to do when you're stuck on a track. I wouldn't recommend starting tracks this way. Always make sure the musical idea comes across first. If you're bored and don't know where to go next, some dicking around like this kickstarts creativity.

35
Composition/Arrangement/Theory / Re: Method to finding key a song is in
« on: January 06, 2016, 02:21:54 pm »
Quote from: Shew on January 06, 2016, 08:25:16 am
Quote from: clearskys on January 06, 2016, 06:31:52 am
Quote from: Krane on January 06, 2016, 06:28:51 am
Quote from: clearskys on January 06, 2016, 06:21:27 am
It's usually a simple two step process.

1. Identify whether the song is in a major (typically happy) or minor (typically sad) key.
2. Determine the tonal centre. This is the note that every other note depends on and revolves around.

These steps aren't ordered, so feel free to work the opposite way.

That's what I suggested, are you able to find the tonic center by ear though without using an instrument while the song is playing to find it?

I do both, instrument + using relative pitch and ear training to guide me. Unless you have perfect pitch, you need to learn relative pitch. That way you can identify intervals much quicker and determine the key of a song more effectively.

Do you have any tools or recommendations to learn relative pitch?

There's no easy way about it - you're going to have to train your ear. Go to the Play Store or App Store and use the keywords "Ear Training" or "Pitch Training". There's a lot of good apps that can teach you. You'll eventually start to make out the tonal difference between a semitone, a whole tone, etc.

36
Samples/Plugins/Software/Gear / Re: Performing Live, Playback, Sync
« on: January 06, 2016, 02:18:09 pm »
Quote from: wayfinder on January 06, 2016, 02:13:47 pm
I was in a laptop jam with 8 others and we successfully synced our outboard gear and Live instances across half a dozen different computers with different versions of Live on different operating systems using ipMIDI: http://www.nerds.de/en/download.html

Holy shit, this looks really promising. Thank you for linking this!

Quote from: atris on January 06, 2016, 06:15:29 am
I'm gonna be 100% honest, sample syncing and stuff goes way over my head and I have yet to figure it out, I'm sure I will one day but at the moment, it confuses the heck out of me. If it's not too much trouble for you, some links to tutorials would be greatly appreciated.

No problem, have a look at these two videos - they're great starters:

1. https://www.youtube.com/watch?v=FG9jemV1T7I
2. https://www.youtube.com/watch?v=cIQ9IXSUzuM

37
Composition/Arrangement/Theory / Re: Method to finding key a song is in
« on: January 06, 2016, 06:31:52 am »
Quote from: Krane on January 06, 2016, 06:28:51 am
Quote from: clearskys on January 06, 2016, 06:21:27 am
It's usually a simple two step process.

1. Identify whether the song is in a major (typically happy) or minor (typically sad) key.
2. Determine the tonal centre. This is the note that every other note depends on and revolves around.

These steps aren't ordered, so feel free to work the opposite way.

That's what I suggested, are you able to find the tonic center by ear though without using an instrument while the song is playing to find it?

I do both, instrument + using relative pitch and ear training to guide me. Unless you have perfect pitch, you need to learn relative pitch. That way you can identify intervals much quicker and determine the key of a song more effectively.

38
Composition/Arrangement/Theory / Re: Method to finding key a song is in
« on: January 06, 2016, 06:21:27 am »
It's usually a simple two step process.

1. Identify whether the song is in a major (typically happy) or minor (typically sad) key.
2. Determine the tonal centre. This is the note that every other note depends on and revolves around.

These steps aren't ordered, so feel free to work the opposite way.

39
Samples/Plugins/Software/Gear / Re: Performing Live, Playback, Sync
« on: January 06, 2016, 06:09:44 am »
Quote from: atris on January 06, 2016, 06:01:38 am
If I understand what you're talking about correctly, Live link should do exactly that!

Kinda. I'm talking about data sync on a larger scale that won't require a networked solution. Link is a step in a similar direction, but we shall see once it's out how sample accurate it is.

I was more interested in a software solution that's ITB that just converts SMPTE to MTC out initially. That's obviously inferior to ReWire as of today, but some cards still use this technology. I feel like once this technology takes advantage of near field cloud computing, we'll have streams of data between machines and DAWs that are sample accurate with almost no latency. Maybe. LOL.

40
Sound Design / Re: Intuitive Processing, Reflex Decisions, Good Habits
« on: January 06, 2016, 05:16:47 am »
Quote from: fungsway on January 06, 2016, 05:13:54 am


Quote
LOL, 110-120?

can you tell I'm not the world's greatest producer yet?!  :'(

So I do that because sometimes I don't totally want to cut out that signal, and sometimes it adds to the overall texture of the track.

More often than not I'll end up highpassing it when I'm running through my first mixdown, but most of the time I usually EQ up until the sound begins to change (because for some reason I'm convinced that preserving the original signal serves as context and is important for its placement in the mix)

I should actually try highpassing stuff immediately and see if that frees up space for me to add other important elements... hmm thanks!


Hehehe, it's good to keep those 110-120 frequency bands alive and well! Just make sure to kill off unnecessary content that may interfere with your bass-centric elements :)

41
Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 06, 2016, 05:10:13 am »
Quote from: eidolon on January 06, 2016, 05:08:06 am
Quote from: clearskys on January 06, 2016, 03:55:39 am
4. Use surgical EQ to remove noise, other artifacts
probably a really stupid question, but what exactly is surgical EQ'ing?

Surgical EQ usually refers to EQing using really narrow bands of resonance (high Qs) to isolate a particular frequency that needs removing.

42
Composition/Arrangement/Theory / Re: Real instruments in the songwriting process
« on: January 06, 2016, 04:50:33 am »
Quote from: soupandreas on January 06, 2016, 04:46:52 am
how many people write their songs on another instrument and translate it to a DAW? do you work with a MIDI controller and find a chord progression or melody by playing it, or do you write in MIDI notes until something clicks?

for me personally, it's a bit of both. interested to see what everyone else thinks.

Yeah, pretty much same as you. I do both. I play Tenor Saxophone in addition to keys, and it sometimes helps to come up with bass notes to support the pads.

43
You Might Like... / Re: Lorn - Anvil
« on: January 06, 2016, 04:35:16 am »
Fuzz yeah, Lorn is da bomb.

44
Mixing/Mastering / Re: Let's talk clipping
« on: January 06, 2016, 04:27:50 am »
Quote from: imreach on January 06, 2016, 04:26:13 am
Quote from: clearskys on January 06, 2016, 04:17:44 am
Quote from: Mat_Zo on January 06, 2016, 04:16:04 am
Clipping is absolutely a great way to fatten up individual channels, what you should never do is clip the master. Other than that clipping is a great tool

Weirdly enough, if you listen to Onra, the guy has some super minor clipping post-master to give it analogue warmth...whatever that means, LOL

Correct me if I'm wrong but I don't think you can get warmth from digital clipping.

Of course not, it's just something Youtube listeners pick up on and seem to attribute a whole lot to. LOL.

45
Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 06, 2016, 04:24:05 am »
Quote from: Blakelight on January 06, 2016, 04:17:43 am
The interface is great whatever but in my opinion it will never sound how I like when i do it , so when i do a kick I'm kinda never satisfied so I prefer sampling , it's different for everyone :)

The way that plugin tunes your kick is just whack.

Pages: 1 2 [3] 4