Thank you for the feedback Mussar! I totally agree about the groove and I've been trying to work on different ways to keep it flowing. I recently came back to this project and I just wanted to bump this thread in hopes of getting some more feedback on the newer version. The idea is not fully formed yet, but I've added a few more instruments, some more drums, and a second buildup/drop.

A few things to keep in mind: for all of the tom fills throughout the song, I've used the same exact samples, and I do plan on going back to replace (they are placeholders). And I also think the transition between the buildup and second drop is pretty weak, and i plan on changing when I figure out what I want. Will most likely add more stuff to the second drop as well, as I don't want anything to sound repetitive. Other than that, very curious to hear if I'm going in an OK direction with this and any advice on the arrangement/mix/sound design within the song would be much appreciated. Thank you all for listening/reading

New version : https://soundcloud.com/theanonymouspanda/push-v3/s-z0wq2

Old version : https://soundcloud.com/theanonymouspanda/push/s-UbcPu

Trying to re-create this sound in Cormak's song, it plays from 3:16 - 3:18 and then again at 3:25 - 3:27. Link below

https://soundcloud.com/cormakmusic/cormak-meraki

My first thought was that it could probably be done with something like LFOtool, but I'd love to hear others' perspective on what methods he could've used.
Any insight appreciated, thank you!

this one is probably one of the best i've found, he covers every section/parameter of massive:
https://www.youtube.com/watch?v=wzsAzrj8XNI

also, here's a free PDF made by the same dude that contains all the information from the video:
http://www.mediafire.com/view/xoo0zg1cktd6gdg/Massive_Mega_Guide.pdf

this helped me lots when i originally found it, hope it's useful!

Each time you add a plugin, another slot will appear. One slot doesn't mean you can only put one plugin on that channel. There's really no need to have a bunch of empty slots, but i guess if that helps your creative process, who am I to say it's a bad idea...

The only method I can think of would be: (For Example) If you had an EQ in the first slot and a Compressor in the 2nd, you could take the Compressor and drag it down a few slots to create empty space for more plugins. Here are pictures to show what I mean:

Before: http://imgur.com/bf1HALW

After: http://imgur.com/2vU4yZR


I think the second photo you included may have been a bug, simply because the empty slots *below* the final insert in a signal chain will typically disappear once you get rid of that insert.

Hope this answers your question!

From what I've seen, there's no real way to control the *synced* rate on one of Massive's LFO's with a macro, simply because the knob disappears. You may just have to automate the rate separately. Once the sync tool is activated within the LFO, the designated automation control becomes: "MODULATOR5-DEN" (Assuming you are using Modulator #5). I'm using Logic so not sure if this will remain to have the same label in other DAWs.

Here are the rates by number amount that I've tested when controlling this automation, just incase you need:

.13 = 1/2
.25 = 1/4
.38 = 1/8
.50 = 1/12
.63 = 1/16
.75 = 1/24
.88 = 1/32

For example, if your automation line is anywhere between .13 and .24, it will have a 1/2 rate. At .25 it becomes 1/4, and so on for all intervals.

Sorry if confusing, hope this helps you make some cool LFO rhythms

Since there are two threads about this, I wasn't sure which to post in so I picked the one with the most replies. I actually didn't see Ninth Parallel's post on here until after making this, so i ended up using a slightly different method

My remake of chords: https://soundcloud.com/theanonymouspanda/infinitumchords

What i used:
-Sylenth for everything... 4 osc, two saws, one triangle, one square all slightly detuned, lots of voices
-Lowpass filter cutoff --> Filter envelope: short Attack and Decay, no Sus, long Release.
-Rather than using Arp setting as stated i drew the chords in midi at 16th notes.. I'm going to try again with the arp technique
-Decimate distortion

Really looking forward to the full release! Also saw your Sad Machine remake in a different thread, that was amazing. Inspired me to try more sound design remakes like this


EDIT: updated link. tried out the Arp method and added Pitch envelope, also got carried away and added some other stuff lol. obsessed w this chord progression

Fun idea!

- At 0:33 there's a wrong note in the melody, it goes c#-d-b-f#, the original goes c#-d-c#-f#.
- In the buildup, the vocal synth sounds great.
- In the Goodbye part, the chord progression doesn't really fit. The original is in F# minor and your version is in D major, so for example the G in the bass is really dissonant with the melody g#-a-b

Thank you for the feedback! The vocal synth is actually the exact same synth as the opening one. Im glad it ended up sounding like that ! Also I was curious as to what you said about the Goodbye part, and after looking at my midi again, the melody goes G-C#-D. So the root note of the melody is harmonic with the bass playing under it. However as far as the Divinity melody (and all melodies in the track), I'm definitely planning on adding some edits of my own, simply because I've heard loads of Porter remixes/remakes where the melodies are all the same as in his tracks, and while that still sounds amazing, i think it adds a certain level of predictability. Maybe im wrong lol

Working on a new project trying to do a sort of mashup of Worlds by Porter. I was really trying to go for a type of Divinity buildup in the first build, but in my opinion it stands to be a lot wider. I've been mostly trying to focus on gain staging, panning, and reverb but I feel like it sounds flat when the high frequencies really come in.
Any feedback appreciated... brutal honesty accepted

https://soundcloud.com/theanonymouspanda/worlds/s-ABYAo

thanks for listening !