shrike
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shrikeParticipantNo doubt. I’ve thrown it on a few times, dig the sound, I did find the “boom” a bit unpredictable/uncontrollable, but I suppose that is to be expected.
I’m a big transient shaper snob. So far there is no better than the SPL Xans Designer plus.a.something about that one that rules above all…like it creates additional harmonics, as opposed to just accentuating. Hardcore.
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,shrikeParticipantI have, yes. It’s not a bad rig, but I prefer my specific component pieces.
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,shrikeParticipantI guess the first question is: what limiter are you using?
I use a limiter on my drum bus (on all my busses, in fact)…It’s the Fabfilter L2, and I always turn on at least 2x’s oversampling. L2 has a feature where you can actually listen to what the difference in the oversampling is, and when isolated it’s quite a pronounced effect, by not oversampling.
I hear the little ringing that you are talking about, and that is what it sounds like to me.
I don’t use Live’s native limiter, because there is no option to oversample, or set to “high quality” like many Live plugs can do. This is an oversight, in my opinion. Many limiters, including free ones (Venn Audio’s FreeClip comes to mind) offer the ability to oversample, in order to avoid artifacting.
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,shrikeParticipantI use AD. Indie isn’t bad, nor is pop, and I also like metal for layered kicks.
I’m eyeballing the vintage dry, myself.
Also, the DS-10 drum shaper and the retro color plugs are each pretty great. DS-10 is one of the better transient VST’s out there. Very usable.
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,shrikeParticipantOperator, U-He Diva, NI Monark, Surge (free), UVI Falcon, NI FM8, Both DS synths, Sylenth, Reaktor, your DAW’s synth
Are generally all capable of making nice basses. For dnb it’s almost more important the treatment and FX’ing the sound. This and usage/composition are the key, IE right sound for the right part.
There’s a shitload of insane things you could do with a simple square wave, the kind generated by any competent vst synth, if given the right processing chain.
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,shrikeParticipantWe usually use https://imgur.com to post images.
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,shrikeParticipantSounds like maybe you should try setting your synth to mono and turning on legato/glide. This will prevent abrupt changes and bend the sound more to pitch.
I’ve circled the relevant properties in Serum:
Or you can just pull out one note and automate the pitch bend, which will do a similar thing.
Hope that helps
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,shrikeParticipantNot exactly that sound, but not a bad place to start:
Also, one of the best neuro bass classes from SG lately:
And I personally like this one a lot, especially if you’re more on the beginner side:
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,shrikeParticipantSAM
This tune has gotten over 6 thousand listens in only 9 days! Well impressed by that.
Any tips on getting that many ears? Other than the obvious (make good shit).
Well done!
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,shrikeParticipantHello MBK and welcome!
Rather than answer your questions individually right now, I’m going to point you to one of our best, recent classes on the subject:
Buy that class (very reasonably priced) and work through it and you’ll be well on your way to creating and managing your bass.
I will give you my personal answers for 3 & 4
3) I lpf my sub at 70Hz to isolate and control the lowest frequencies
4) I think you mean high pass (low cut) here. You’ll get a variety of answers from different producers about this. Some say cut the lowest 10-20Hz. Some say let it all through. I tend to cut 15 and below.
Hope that helps! Any more questions, ask away.
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,shrikeParticipantWelcome to the fold, Ash
Nice tune! Solid mix. If you’re looking for feedback, I’d say the snare might need a little more tweaking. Without seeing it (spectrum-wise), I think the low fundamental (~250hz) needs to be snappier, a more abrupt envelope, less sustain. It just feels a little too chunky to my ears right now. But that is for sure a preference thing. I think it could just give it more smack and whack as opposed to feeling a bit obtuse.
Be sure to participate in our monthly challenges, which should start again in March. The more competition the better!
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,shrikeParticipantBetter!
I think the next thing to address is the high end. It’s a little muffled right now, as if there is a LPF at around 5khz or so. It might involve tweaking/eq’ing the tops you have now, or possibly introducing some new sounds to fill out that range.
And the kick and the snare need more tops. A crash or noise layered on.
This is a GREAT reference for kick & snare, esp for nice, patty tops that aren’t too harsh:
Keep going, there is some really wikked gnarly shit in there, just need to pull it out and make it shine
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,shrikeParticipantHis sound like a series of chorus, delays, and verbs, at least to my ear. And possibly some IR
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,shrikeParticipantYeah bottom is just kind of soupy. There is no clear differentiation between the bass and the kick, and the kick doesn’t have enough tops to whack through. Same goes for the snare. I felt like I was waiting for it to drop the entire time, but it never quite cleared up. There are no “hero drums” to speak of.
Now for the good stuff, that bass sounds like it’s a fucking monster, if you can just let the thing out to breathe. Sounds like old Trace/BC, which I am always a sucker for.
Methinks maybe there are just too many sounds in there trying to compete at once…? I think for sure you should let some things rest for some bars. Like that lead sound, the once that we hear very last, it’s great, but you run it the whole time, so it wears down. If you’ll drop it out for 16 or 32 bars in there somewhere, it will be much more impactful when it comes back. Also I think it needs more distinguished turnarounds. HP the drums or bass at the end of 8 or 16, or drop more things for a bar on the 4’s 8’s & 16’s. DJing this thing would be a bit of a nightmare, at least on vinyl, cuz I don’t quite know where I am at, and there are few clues to get me back on the path.
Don’t get me wrong, there are some great tings in there, I know it sounds like I’m maybe dogpiling it…but I think if you did some of the things above this thing could really crush.
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,shrikeParticipantThat Hyroglifics tune is very nice.
One of the things I like to do with a vox track is to dupe it, then slice out segments, and delay (shift right) the leftover meat by various amounts, and then effect the pink fuck out of that track. Lots of delays (FF Timeless is rad, H-delay decent in a pinch, stock daw delays kinda bore me, personally), a few verbs, the eventide H910 harmonizer is super for really transforming the sound, and the Glitchmachines plugs can work really well too. Bitcrushers and distortion if you wanna really grime it up, but it sounds like you wanna go a little more ‘lovely’.
I don’t use sends any more at all. I have literally never maxed out my box in Max, so I just throw things on as I feel.
As always, it’s really just up to your creative whims & ideas, but I think it’s okay to lay in multiple versions of a plug…I’ll use 3 FF Timeless in a row, as the bouncing echoes make up more than the sum of their parts.
Oh and pitch shift that them, sometimes drastically. Moving pitch shift, not just pitching up or down. By pitching during a sung phrase you can create something entirely new out of a verse or whatever.
A few of my vocal tunes where I used the above ideas:
https://soundcloud.com/the_shrike/sh-terrible-wip01/s-rmrC2
These have my wife singing on them (just rough clips, of which I have dozens and dozens):
https://soundcloud.com/the_shrike/neutron005-strings-wip002/s-UMWXa
https://soundcloud.com/the_shrike/all-serum-wip004/s-iSz8T
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