Does anyone know how to synthesise the top/mids of this sound? Maybe with FM? Thanks
https://youtu.be/o8u6oBouT0U
https://youtu.be/0OXPR03JAkg
And some musical examples:
At 1:25:
https://youtu.be/rtBAtsbFbOY
https://youtu.be/4l4f5-kZirg
Subwoofer/speaker rattle sound
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- KVRer
- Topic Starter
- 5 posts since 23 Oct, 2021
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- Patchmeister
- 1774 posts since 3 Nov, 2010
There are 2 main reasons for this.
One is just simple having the speaker trying to perform beyond what it can take leading it to rattle.
The second is that certain frequencies "interact" (not sure what the correct terminology is)
with physical objects around them especially that annoying range @ about 128Hz.
It's what gives kicks part of it's impact and sounds really harsh in most nightclubs.
Take a song with a typical thuddy kick and put an eq on it and start boosting it around there and see if the people trying to sleep upstairs don't come down and beat you over the head with a broomstick.
I usually deliberately dip a little here with an eq because it's just annoying.
But like I said id does help with thud-ness in kicks.
One is just simple having the speaker trying to perform beyond what it can take leading it to rattle.
The second is that certain frequencies "interact" (not sure what the correct terminology is)
with physical objects around them especially that annoying range @ about 128Hz.
It's what gives kicks part of it's impact and sounds really harsh in most nightclubs.
Take a song with a typical thuddy kick and put an eq on it and start boosting it around there and see if the people trying to sleep upstairs don't come down and beat you over the head with a broomstick.
I usually deliberately dip a little here with an eq because it's just annoying.
But like I said id does help with thud-ness in kicks.
Last edited by CHOOS on Mon Oct 25, 2021 5:45 pm, edited 1 time in total.
CHOOSX Remakes on my Youtube Channel
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- KVRAF
- 2465 posts since 15 Apr, 2004 from Capital City, UK
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- KVRer
- Topic Starter
- 5 posts since 23 Oct, 2021
For sure, I'd be interested!CinningBao wrote: ↑Mon Oct 25, 2021 4:30 pm I built a plugin to do this kind of thing in Plogue Bidule, so if you've got that I could send it to you.
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- KVRAF
- 3089 posts since 4 May, 2012
https://unaspectedstudios.com/sharing/S ... tion01.mp3
Gain staging of a sine wave through some distortion can get you pretty close. Then it's a matter of filtering to taste. You might also like to experiment with some impulse responses of loudspeakers to use as a filter.
A few tricks here:
I'm running through three distortion pedal emulations and favouring fuzz. Each instance is mixed so that some of the sound from the previous distortion plugin is let through. One of the pedals is mixed in very low as it is used only for splutter.
Noisegates will help to accentuate spluttering if you find the biting point and then gain-stage sufficiently into the next pedal - this should also be mixed. The more you add at different stages and with biting points that just catch the sound, the more spluttering you will get.
I also added an envelope follower to the input signal and attached this to filters in the distortion units so that they open up the louder the sound. With some fine tuning of the curves and operational range, some natural sounding movement can be added.
There is also some parallel optical compression at the end of the chain, mixed 50/50.
Once it's all set up, the gain ahead of the chain should provide lots of tone control - which I automated for this demo.
Release on the synth was increased to create wobbles with beating - might not be to your taste. If you start adding band reject filters and automating them, you'll be on your way to neuro type bass sounds.
If you want that big sound in ZULI's Trigger Finger (sick track) then you could apply side-chain compression as a mix effect so that the sub compresses the rest of the mix.
Gain staging of a sine wave through some distortion can get you pretty close. Then it's a matter of filtering to taste. You might also like to experiment with some impulse responses of loudspeakers to use as a filter.
A few tricks here:
I'm running through three distortion pedal emulations and favouring fuzz. Each instance is mixed so that some of the sound from the previous distortion plugin is let through. One of the pedals is mixed in very low as it is used only for splutter.
Noisegates will help to accentuate spluttering if you find the biting point and then gain-stage sufficiently into the next pedal - this should also be mixed. The more you add at different stages and with biting points that just catch the sound, the more spluttering you will get.
I also added an envelope follower to the input signal and attached this to filters in the distortion units so that they open up the louder the sound. With some fine tuning of the curves and operational range, some natural sounding movement can be added.
There is also some parallel optical compression at the end of the chain, mixed 50/50.
Once it's all set up, the gain ahead of the chain should provide lots of tone control - which I automated for this demo.
Release on the synth was increased to create wobbles with beating - might not be to your taste. If you start adding band reject filters and automating them, you'll be on your way to neuro type bass sounds.
If you want that big sound in ZULI's Trigger Finger (sick track) then you could apply side-chain compression as a mix effect so that the sub compresses the rest of the mix.
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- KVRer
- Topic Starter
- 5 posts since 23 Oct, 2021
Sounds excellent!! I'll give it a crack.
Out of curiosity, any bass sound design resources you'd recommend for similar results? Cheers!
Out of curiosity, any bass sound design resources you'd recommend for similar results? Cheers!
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- KVRAF
- 3089 posts since 4 May, 2012
Mostly your ears. Though I would also recommend checking out studio interviews with artists that interest you - which you've probably already done but it's worth mentioning if not.ReesesPieces wrote: ↑Mon Nov 08, 2021 11:48 pm Sounds excellent!! I'll give it a crack.
Out of curiosity, any bass sound design resources you'd recommend for similar results? Cheers!
When mixing, you'll want to keep the low end phase aligned and as clean as possible. A lot of big sounds that you hear in clubs are made from basic waveforms.
I'll add not to go over the top with the distortion, especially if you are feeding the signal through a series of distortion units. Definitely check out guitar stomp boxes. I know that a few dnb artists also have a love for metal and I wouldn't be surprised if they are using guitar stomp boxes to process sounds.
I used plugins by Audiority to achieve that sound and very much recommend them for their authentic tone - and they each have simple noisegates that will help. Otherwise, you should be able to find some freebies out there. Get hold of a good Fuzzface emulation as that thing spits and splutters quite nicely when settings are dialled back.
