Any ideas people??
I am really stucked tryin to make this high pitched sound from Nicolas Jaar (0:07)
https://www.youtube.com/watch?v=BfIpMEGzgrw

I  ve made this sound which is a bit close but I can't imagine what else to modulate to get it closer (and that clear)

http://www72.zippyshare.com/v/MJ2Q1zTS/file.html

I'm feeling a lowpassed square under another layer with some comb filtering

Hey!

was wondering how you make these metallic-ish supersaws that slushii uses in the drop in this song:
https://www.youtube.com/watch?v=_8hRRRJp1rQ

as far as i can hear there are some layering involved, but other than one layer that is almost not detuned, and one that is slightly detuned, i cannot figure out the rest, been trying out some different stuff, but the texture and eq'ing doesn't get any near.

i know this is probably pretty easy, but since i'm pretty new to sound design i just can't wrap my head around it just yet.
anyone who knows how to do something similar?

You're right about the first two. Throw in a bassier note and some white noise. I'd also say boost the mids and saturate it a tad.

Hello! I've recently discovered DJ Snake's new album and music style and I've fallen in love with the track "Here comes the night". My question is : What kind of synth/lead(s) is present when the drop kicks in? I'm blown away by that sound and have no idea how to design it myself or what to even look for. Is it some sort of chord being wobbled and arped? I've really got no clue about this and would love any help!
Thanks in advance!

https://www.youtube.com/watch?v=MOjOqhL7ySw&feature=youtu.be&t=68

Squares, a bandpass (I think?), and volume modulation

Edit: Use envelopes as opposed to LFO's. It sounds super marimba-ish

I personally like to have at least one element hitting at the same time that the kick/snare do (and I also make sure it's sidechained). It adds a bit rhythmically, and you can do whatever you want between drum hits. Also, take your snare sample. reverse it and cut the end off (to taste, depending on how loud you want the end of the swish to be before the snare hits). With a touch of verb, you'll get that nice breathy snare. Another tip, and VR talks about this in one of his videos, a great way to layer chords is to have a synth running (mostly?) in mono, and a really wide synth. He uses the JP6K plugin by Adam Szabo (a really beautiful plugin) for the wide chords, but you can achieve the same results with massive. Lastly, you can design a bassy synth hit with a single wave (I can't remember which type emulates a snare the best) that matches the snare (with ADSR) and add pitch modulation. Your snare will punch super hard, and you don't have to worry about it interfering with your kick because they never hit at the same time.

Superior drummer 2 The Metal Foundry is the best realistic sounding drums samples that I know.

Perfect. Thank you.

I really love those crazy drum fills (the one in the beginning of The Sinner from Memphis May Fire, for example). I especially love it when these fills pop up in heavier EDM tracks. I don't know if it's all in the processing of the samples, or if there are just good samples for it. Thoughts?

I just move the faders until it sounds right based on the current focus of the track (basses are loud when they're important, just like vocals). If you ask me why any of the levels are at any of their values, the only response I can give is that "it sounds good." I've never really followed a textbook or looked at an analyzer (hold Vengeance's Stereofield analyzer, but even then I just like how it looks). I solo out the four frequency bands individually in Ozone to check how they sound, drop Utility on the master to check mono, and low/high pass just enough to cut away the frequencies I don't need without audibly damaging the sound.

Also, I've started doing general effects (basically reverbs and delays) on my sends. Two or three reverbs mix up a lot less mud than like eight (which is what I used to do). It's also easier on my cpu. And the only things I ever use a compressor for are really just changing drum transients and sidechaining. Compressors are really good at making organic sounds more consistent in regards to overall volume level. But if you're like me and 90% of your sounds are programmed in and don't really exceed the level you set them at, it's kind of redundant.

There are no "correct" ways to do anything. Just ways that work. You can crochet a sweater, or you can knit a sweater. They're going to do the same thing. What matters is that you like the end result.

As I started clicking around in a DAW only a few weeks ago, I have a really hard time understanding the setup of the bass in tracks like

Cosmic Gate – am2pm
https://youtu.be/FSserx_VvFM?t=51s

Ilan Bluestone – Big ben
https://youtu.be/LJ5o74hUQvY?t=1m

In these tracks the bass seems more to be an aftermath of the kick, as you (or: I) can not hear a specific bass-sound that is played.

Sorry for a question to which the answer is probably pretty simple 

You have three options here:

• Sidechain your sub to the kick and adjust the attack time
• Adjust the attack of the sub itself
• Modulate the volume of your sub

That's pretty much it. I'm kind of wondering if the attack is curved downwards a bit, which would mean volume automation; something that is not at all unheard of as a substitute for sidechaining. The sub in cosmic gate is probably also bitcrushed.

P.S. Someone once told me that you have to ask dumb questions to learn anything. It's not dumb because it's being asked. It's dumb because it's second nature to those who have already asked and are currently using that knowledge. Basically, any question is smart. Partially because you're going to learn from it, and also because it'll lead you to more questions. The desire to learn doesn't require an apology. It's what brought us all here in the first place. Now go ask more questions. 

anyone have any idea how to recreate the bass that appears at 2:14 in this track?

https://soundcloud.com/crankdatvip/notorious-remix

Deep house bass (it sounds wide and square-ish) -> Redux/Bitcrushing -> Profit

Bitcrushing is reducing the audio quality of the bass as a whole, but giving it that little top end. What you could also do is route audio from your bass channel to the Bitcrusher on another channel, lowpass it before the crusher at about 5khz (or to taste), and mix it back in with the bass. Bam. All of the bass quality with the crunch of the Bitcrusher. Now you just need a captain's uniform and a gallon of milk.

P.S. Thank you for sharing that. Super dope drop right there.