KVR Audio

Jax Pok · Post by **Jax Pok** » Mon Dec 07, 2015 4:20 pm

Apostate wrote:
Jax Pok wrote:I've updated my post on what I typically do to add more bass.
You've got me super interested in Filterfreak!

I would demo Filterfreak and Cytomic The Drop. I get what I want faster with Filterfreak as it's less dials and the presets are perfect. The Drop though is far deeper.

HcDoom · Post by **HcDoom** » Mon Dec 07, 2015 5:50 pm

He uses two plugins: talentator 3 and moneycash 1.5!

chk071 · Post by **chk071** » Mon Dec 07, 2015 5:57 pm

One Knob Hans Zimmer Hollywood Edition v2.

Apostate · Post by **Apostate** » Mon Dec 07, 2015 6:13 pm

chk071 wrote:One Knob Hans Zimmer Hollywood Edition v2.

Link! Please! (laughing)

V0RT3X · Post by **V0RT3X** » Mon Dec 07, 2015 7:18 pm

So far just by testing, i've gotten incredible low end with DMG Audio Equilibrium. You can do incredible things with this Equalizer, and it's definitely worth checking out, if you've got the time and money.

It is however not a quick solution, and will take some time to figure out as it comes with a vast amount of options to work with. However i can honestly say that I was VERY impressed with the EQ filters.

Cytomic the Drop is also a great way to boost bass, and you can get that larger than life bass with it just by doing carefully adjusted filter sweeps on some material. Another thing to definitely give a try!

MogwaiBoy · Post by **MogwaiBoy** » Tue Dec 08, 2015 1:19 am

As he says, every sound is built from scratch, so I assume frequency analysis comes into play to ensure the boomy sounds carry the weight/depth of the composition, sitting where they should.

Some of the magic will probably also come late in the mixing process and ofcourse mastering - running through outboard gear. Hans may even not have full (or much) control of that.

Plugins will help but are unlikely to mimick his exact methods and processes for sound design.

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Tue Dec 08, 2015 2:27 am

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chk071 · Post by **chk071** » Tue Dec 08, 2015 2:43 am

To be fair, that's the "official" endorsement to be found on the Cubase site, and i only dropped it here, because it's controversial. Not sure if it's his real opinion. But even if it was, it just shows that we're all human. How often did i think that "that synth" totally rocks, and a day later i listen to it, and it really sounds "meh" to me. I also thought Cubase sounded better after i switched from Reaper. Difficult topic.

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Tue Dec 08, 2015 3:02 am

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Ingonator · Post by **Ingonator** » Tue Dec 08, 2015 10:20 am

Personally i am currently using 5 plugins to improve the low end of synths (where the first one is the most used):

1.) Waves OneKnob Phatter
2.) Waves Renaissance EQ
3.) PSP NobleQ EQ
4.) Klanghelm IVGI Saturation effect
5.) Schwa Oligarc Drive

Mostly OneKnob Phatter is enough but sometimes i also use it in combination with other plugins, especially Renaissance EQ. One Knob Phatter could boost th low end so much taht i rarely use it at maximum amount (the amount knob is the only knob in this...).

Jorgeelalto · Post by **Jorgeelalto** » Tue Dec 08, 2015 7:52 pm

chk071 wrote:One Knob Hans Zimmer Hollywood Edition v2.

Upgrade price?

Apostate · Post by **Apostate** » Sat Dec 12, 2015 4:10 pm

TheoM wrote:
chk071 wrote:It's Cubase and its fantastic low end.
Hans Zimmer wrote:Another thing is that Cubase sounds really good. And what I mean by that is that what you put into Cubase is what you get out. It’s not colored like other systems. I can tell straight away when somebody brings in a Logic track — I know exactly what it was recorded on. Part of why I like Cubase is that I don’t sound like everybody else. I mean we never use library sounds. You don’t really want to hear a sound you have in your 160-million-dollar movie in somebody else’s movie in the theater next door so everything we use is made from scratch. And so it’s very important to me that the quality of the software ensures that what ever work I put into it, it isn’t going to get colored. We already had this with the early digital recording where you can listen to a recording and you literally can put a time stamp onto it. And I think this will also happen with other DAWs. So you don’t really want to be able to identify the sound and that’s why the DAW has to be as transparent as possible so that it becomes timeless.
That always cracks me up. I want to mix the same song in cubase, logic, S1, Live, and PT.. and challenge him to pick the mixes LOL. They will all be using identical third party plugins and mixed as close as possible to complete infinity null. I will even use convolution verb's static impulses for any verb so the mixes can actually properly null and i will use clean compressors only, no analog signal path modelled stuff. Do you think he will take the challenge to pick the DAW's?

it really is hogwash, btw. he's wrong about that and someone with such experience loses a lot of credibility in my book making statements like that. Just in my opinion of course. I am sure there are others who believe him.

It sounds a bit strange and unlikely. But I have a hard time believing that would be used without there being at least a kernel of truth to it. Especially as a sales device, if it was that easy to prove wrong then both Steinberg and Zimmer would look terrible. And, to point out the obvious, Zimmer is an outstanding success in the music world, hard to believe he'd risk alienating people who pay him millions of dollars. Even harder to imagine him not knowing better than...well, let's just say the overwhelming majority of people here.

No offense or disrespect mean to anyone, at all.

ethermusic1981 · Post by **ethermusic1981** » Sat Dec 12, 2015 5:41 pm

TheoM wrote:I doubt steinberg would use a quote that a huge composer like Hans never said.. they'd be in a world of legal trouble. So i do believe it.

That said it kind os shows how ridiculous steinberg themselves are to use that as a selling point.

What about the DAW's that use 64 bit float then unlike 32 like cubase? they don't go around saying they sound better lol.

Oh I'm sure he said it. But simply for the $$$. Him saying it doesn't mean that it's his true opinion.

Apostate · Post by **Apostate** » Sat Dec 12, 2015 6:07 pm

ethermusic1981 wrote:
TheoM wrote:I doubt steinberg would use a quote that a huge composer like Hans never said.. they'd be in a world of legal trouble. So i do believe it.

That said it kind os shows how ridiculous steinberg themselves are to use that as a selling point.

What about the DAW's that use 64 bit float then unlike 32 like cubase? they don't go around saying they sound better lol.
Oh I'm sure he said it. But simply for the $$$. Him saying it doesn't mean that it's his true opinion.

Ohhh, that could be true I guess. The $$$ talking. I don't know, from the minimal contact I've had with Hans he's seemed like a very nice person. But hey, how would I really know...how would anyone.

Gonga · Post by **Gonga** » Sat Dec 12, 2015 6:18 pm

Hans is quoted somewhere as saying that the main trick to his giant low-end percussion sounds is to use low velocities. He uses low velocities without a lot of high transient and that way he is using the pure sound itself moreso rather than processing it too much. He says people make the mistake of "beating the drums" too loudly in an effort to produce giant sounds, where the result is thinner, higher-frequency stuff.

Hans Zimmer's Incredible Low End