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I feel its better to take these methods and do your own thing with them. I've gotten really close to these synths but I dont want to post them or replicate Skrillex's for that matter. His signature basslines are definitely FM synthesis, and not fucking modern talking.
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He probably bounces out after that to free up CPU and add a little extra mastering, and maybe add a sub. I think his synths are more focused on carefully placed automation with a long FX chain and a main frequency modulation synth that has a bunch of LFO's, envelopes and automation as well. A trick I've been using a lot lately is putting a limiter right at the end of my FX chain (before my spectrum of course ), so it doesnt clip terribly and keeps it at a nice level while not effecting the timbre (since amplitude effects timbre with a big distortion FX chain).Īs for resampling, I bet he does it but not to the extent that people think he does. If you squash the shit out of it with a low threshold it changes the timbre and contains the beast a little bit. I feel compression also plays a big role in the sound as well. DOA's the grid has some good tips on making cool reeces. I've also noticed that a ton of skrillex basses (especially scary monsters and scatta basses) are lacking frequencies from 450 - 650hz, which shows that he uses notching techniques like used in DnB reeces. Be careful with distortion though, you can destroy a whole sound easily if you put too much.
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and place a BP or LP filter before all of them it can give you some really mean wobbly sounds. Also, if you have a really long FX chain with a bunch of distortion/compression/EQ/etc. Automating the EQ between two (or even three) different distortion types creates formants and some cool timbres and automating an extra EQ before or after the distortion can also emphasize the formant. I use Ohmicide, Tridirt and Ableton saturator. I find good distortion is essential for getting certain formants/movement. Here are some tricks that I have come across in trying to get this bass. Didnt even know ableton had presets for formants, so thanks for pointing that out definitely gonna spend all of tomorrow playing with that haha. I also stumbled upon this article when it came out and have been experimenting with FM8/Operator and different effects since then. Wow, a lot of really good info/ideas in this thread. at the moment my results sound way too shitty to post, i have made decent growl sounds with other techniques but i'm curious if this one might end up more effective once i got the hang of itĮdit: yeah actually i tried setting up an eq using the values of the formant table linked in this thread and it just sounds like a weird phaser so yeah if anyone would do a step by step rundown i'd appreciate that. I'd also like to hear some before/after compairsons of source sound and final vowelly growl. I wonder, how much do you guys modulate your reese/bass/whatever sound before applying the vowel eq? and at what point in your fx chain do you apply it? right at the end or do you put other stuff behind it? i found that saturating/distorting the sound after the eq just destroys any formants i might have created. sometimes it sounds quite cool but it's just sweet spots, nothing close to what i've heard in this thread. What im doing right now is drawing a rough vowel shaped eq curve with a hp, lp, 2 boosts and a notch in between and then grabbing all those points and moving them back and forth. However i haven't found any suitable sound for vowel-eq treatment on my harddrive so far, either that or i'm doing it wrong. Hmmm im starting to get nice results with fm8, reese-wise.