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Messages - Mussar

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76
Sound Design / Re: Supersaw?
« on: October 18, 2016, 02:44:40 pm »
Keep in mind I haven't replicated it myself so I'm going based exclusively off memory, but the bass is primarily a reese - two/three saw waves detuned slightly against each other. This can be done by doing a 2 voice unison or using two oscillators, and messing with the detune values until you get it right. High pass it just enough to remove the sub and layer in a sine wave sub bass, then when you're playing different bass notes experiment with automating a filter over the reese. Sometimes it's a low pass, sometimes it's a high pass, so just play around and see if you can get it.

77
Samples/Plugins/Software/Gear / Re: Clicking on Ableton sidechain
« on: October 18, 2016, 02:38:09 pm »
Switch from Peak to RMS mode, and it should help that a lot. Otherwise, finding something with the old Live 8 Compressor can do it.

78
Sound Design / Re: Supersaw?
« on: October 18, 2016, 02:01:55 am »
You really have a lot of the idea, to be honest. There's actually only two real layers here:

1. the reese bass, which is going through some high/low/band pass filtering to give it that vocal-y quality and being reinforced with a sine wave sub bass. this is the loudest element in the mix during the drop and provides the majority of the sound you hear throughout the drop.

2. the super saw, which is in comparison REALLY quiet. The biggest part here is getting the chord stacks right, because honestly this might just be plain old single-voice saw waves with no unison at all. Experiment with combinations of unison supersaws and regular saw waves, then try stacking octaves of chords (i.e. if you have an F Major chord (F A C), duplicate the F and the C up and down a few octaves to add some thickness. You don't have to duplicate the A, since you only really need one third to provide a character to the chord).

79
Sound Design / Re: How Do I Sample/Resample Like This?
« on: October 18, 2016, 01:39:56 am »
Well, in the first track the FX just sounds like high passed white noise - you can either use a synth or a sample of white noise, then high pass it and either sweep a low pass filter down or fade the volume out and voila.

For the vocal samples, they probably used a microphone and recorded it themselves.

Regarding sampling, we at The Producer's Forum don't condone using copyrighted material without express written permission of the copyright holder BUT I can say that Audio Hijack is my go-to for capturing audio from my computer that might not be easily downloadable.

A lot of these FX can be made by just high pass filtering or low pass filtering some sort of noise (or maybe something like a triangle/distorted sine wave if it sounds tonal) with an LFO on the cutoff. You can use LFOtool, you can use the filter's built-in LFO if it has it, you can draw it in manually... there are a thousand ways to get to the answer you're looking for. If you don't want to design it yourself, sign up for Splice and do a lot of digging!

80
Sound Design / Re: LOOKING FOR DRAMATIC GRAND PIANO STYLED SYNTH
« on: October 15, 2016, 09:49:01 pm »
If you want free, your options for good piano sounds will be limited. If you're using ableton, here's a quick and dirty Pryda-style EDM Piano:

Inside an instrument rack, place the Grand Piano preset and the Piano Delicacy preset. Use the Pitch MIDI effect preset -12 on the Piano Delicacy to double the grand piano an octave lower. Put a reverb after the piano with about 2 seconds of decay and 35-45% wet, then put the OTT multiband dynamics preset on with 40-50% dry/wet and a glue compressor with about 50% dry wet giving you about 5 dB of gain reduction (and 5db of makeup gain).

The OTT and the glue compressor will bring up the reverb and blend the two piano samples together and should give you something closer to what you want.

81
Samples/Plugins/Software/Gear / Re: Ableton never starts!
« on: October 15, 2016, 09:31:52 pm »
Don't take this the wrong way, but did you get your copy legitimately? If you pirated it, there's a good chance it's just not gonna work. Consider saving up and buying a version of Lite!

If you got your copy legit, then we'll need much more information than "You've tried everything". What OS are you using? What version of Ableton Live are you using? What troubleshooting steps have you tried?

82
Suggestions / Re: Question...
« on: October 15, 2016, 09:27:20 pm »
If you want to subscribe to a particular thread, click the icon at the top or bottom right of the page that says "Notify"  - that should enable email replies for forum posts in that thread!

83
Sound Design / Re: Good video about dithering
« on: October 14, 2016, 03:13:44 am »
It's apparently a plugin they designed themselves. this is from the youtube comments of that video:

Quote
It's a plugin I made for internal/testing purposes. I guess I could make it public, but it wouldn't come with any support or anything, and I can't guarantee that it will be stable, although I've never had issues with it and I use it every day. I don't remember if I ever made anything but a vst version of it.

84
It's kinda hard to replicate the Oxford Inflator plugin simply because the Inflator enhances the specific harmonic frequencies connected to our perception of loudness. Your best bet would be to play around with certain distortion and saturation plugins, tweaking the settings until you come across something that increases loudness without increasing level - probably by manipulating the upper harmonics.

85
Samples/Plugins/Software/Gear / Re: Should I update to macOS Sierra?
« on: October 05, 2016, 07:57:48 pm »
As a general rule, updating your software or operating system or anything at all tends to happen on as-needed basis or at the very least "wait a few patches". You rarely - if ever - want to update right after a huge new version has been released.

The reasoning tends to go like this: You never know what's gonna stop working, because you never know who is on board with all the new updates. Some developers, like Native Instruments, will be able to verify that all their software is compatible (though some hardware will no longer work if you update, because they no longer provide patches). Others, like Universal Audio, cannot update their hardware and software so quickly and advised against updating.

I updated, and while I enjoy Sierra, I had a hassle getting my system up and running. I needed to go into the recovery mode command line access and disable certain features to be able to correctly reinstall the UA drivers in Sierra, and a number of my (thankfully freeware) plugins from Plugin Alliance and Izotope stopped working. I would suggest waiting if you're really interested in updating until all your third party plugin providers have verified they're ready. If you have a lot of outboard gear, do not update!!! It's probably not worth it.

86
this was really fun and i wish i had time in my school schedule for it but YOU ALL SHOULD JOIN!!! it's a great way to develop your skills musically, and since it's a friendly competition you can be at any skill level and still join in!

87
Coachella was really awesome and my first EDC (2014) was revolutionary in terms of how I experienced music festivals. Seeing Tyler the Creator live was absolutely insane, seeing The Bloody Beetroots live was incredible, getting to see Worlds when Porter came to SF with it was also a huge highlight.

There's tons of others, but those three have always stuck out in my mind.

88
If you don't have any acoustic treatment, I'm with you that an 8-inch cone is probably too big. I have the KRK Rokit 6s and I think they function very well, and in some ways prevent me from going too loud with my music.

I don't have any experience with JBL speakers outside of what my school has, but to be honest as long as you spend enough time referencing other music on your monitors you'll start to learn the particular idiosyncrasies for that referencing position, and use that to compensate. If you're really really stuck, put your favorite reference track into your DAW, open up an EQ, and change the frequency response until it sounds like you think it's supposed to sound normally. Slap that EQ on your master chain, then turn it off before bouncing your projects and see if it's giving you a more accurate result than without using a compensation EQ.

89
Composition/Arrangement/Theory / Re: what genre is this?
« on: September 28, 2016, 05:38:52 am »
I was referring to the other people posting unhelpful answers, not you. don't worry!

And I personally use iTunes as my music managing software. It can be a bit risky, but I prefer it over organizing my songs within my DJ software. I use Traktor and rekordbox, so I focus on building smart playlists inside iTunes based on key and genre/style as well as whatever other tags I can think of, then I either import songs one by one into rekordbox or just play off the smart playlists through Traktor.

90
Sound Design / Re: The "How do I make this sound?" thread
« on: September 27, 2016, 12:17:32 am »
I mean, he pulls up the patch directly afterwards, so you could have just extrapolated it from the patch:

It's one of the most basic "Bass House Wubs", and can be made in any synth capable of FM (including massive!):

  • Oscillator 1 should be a sine wave playing in the bass/sub bass range (C0-C1), and Oscillator 2 should be a sine wave playing 2 octaves above it but with the output volume all the way down. (If you're using something like FM8, you want the second operator to be set to the ratio 4, aka the third overtone)
  • Frequency Modulate/Phase Modulate Oscillator 1 with Oscillator 2, and run Oscillator 1 through a low pass filter.
  • Apply an LFO or an envelope to the FM amount and the cutoff of the filter.

Everything beyond those three steps are just bells and whistles - he probably used serum's "Hyper" effect to add stereo width and character, added some reverb, then used a second LFO to slowly open up the cutoff of the filter and pitch the synth up a step so he didn't have to draw in any automation and could just hold a single note down.

Here's the fundamental patch, recreated in Serum, Massive, FM8, and Operator.

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