Beiträge von Chewie

New track upped on soundcloud called magnetic featuring my old pal the virus
http://soundcloud.com/chewiedub/chewie-magnetic-dub

Was messing around with the arp to matrix the other night and was just thinking wouldn't it be cool if there was a tab similar to the arp one but a mulit-stage envelope similar to the layout in omnisphere. Would love to see something like that added.

Thanks guys yeah was going for something that captured that general sense of fear and paranoia with a good old strong back bone running down the middle with the bass and beats.

Zitat von berni

Nice, good production man. Did you master it yourself?

Yeah man did the master myself

Just stuck a new track up on soundcloud demostrating the general girth of the virus:

There's heaps of uses for having 2 filters in series. I'll give you some examples:

notch/ band reject filter on filter one into filter 2 as a low pass or bandpass with the cut off link off. Have lfo 1 modulating filter 1's cut off slowly and say lfo 2 modulating filter 2. The band reject filter adds some subtle movement to the patch. Good for pads/leads/bass etc

High pass into low pass creates a 12db bandpass filter and you get more control over the bandwidth by changing the difference between filer 1 + 2's cutoff with the cut off link on.

As Aman mentioned you can cut out low rumble with a hipass then into a low pass or bandpass , works well for bass.

Last thing you can drive the signal with the 1st filter by turning up the osc volume above 0. You can then say have it as a low pass with the dial fully up allowing the saturated signal through to filter 2 so you can get more harmonics pre filter. Have cut off link switched off for this also.

Cheers guys! Glad your feeling the "on point" riddim
We've just finished a new one the other week that's been nearly a year in making and another one that i'm just waiting on zeno for hint hint
@ bhco3 the talking kinda bass if i'm thinking of the right one is a good dose of distortion using a band pass filter on filter 2. The way the virus works it's sometimes better to have the 1st filter doing nothing but driving the signal with the saturation/ distortion and then manipulating the harmonics with the 2nd filter.
Mind you i think zeno made that patch so he'll probably tell me i'm completely wrong lol
Current favourites for starting oscillators is the hypersaw but with the sub osc level on full so you get some mean as fuck detuned square wave for a rough start , add lots of unison to make it even more epic.
Another one i've been messing around with recently is just 1 plain square wave from the classic oscillators but then have the waveshaper at around 30ish at the filter section and add some more in the distortion effects section this increases the harmonics and makes some real nice cutting style bass, don't overdo it mind
Last thing - the eq section. Very handy. Try and accent the tasty frequencies so for bass i'd bring up the low @ say 200-300 6 to 9db gain , mid section 1.5 to 2.5 khz 6 to 9 db gain, hi section 3.5 to 5khz 6ish gain. Again it all depends on what fits with the particular bass your making. Try not to make it too muddy ( 200 to 800hz area is a real mixdown mush area as alot of instruments, drums hell most things try and fit in this spot). Then in your daw go to work on cutting out the low end to fit a sub underneath ( usually a 12db curve hi pass filter rolling off @ 180 to 200hz) Also a notch @ 500 if it's too muddy works wonders.
Rant over
Oh and don't forget compression, LA2A is king for bass
and the uad fatso aswell

Are you wanting to change the rate of the lfo whilst synced using automation? I can do this in ableton and logic not sure about how cubase does it but look for LFO(x) Clock in the automation lane for the TI plug in.
This was implemented in OS 3

lfo set to triangle with the contour al the way to the right is a ramp up lfo. Assign this to transpose and have trig set to 1 so it starts at the bottom each time a note's pressed. Then change the lfo speed to suit the tracks bpm or sync it etc

stick your beats through the virus for some kick ass saturation

having aftertouch modulating lfo 3's depth for vibrato and at the same time increasing the filter cut off
personal favourite of mine atm it's real basic but brings a killer distorted bassline to life

Zitat von BC

Chewie - you're basically treading the exact same path I trod when trying to see if I could completely cheat the system

DAMMIT! Was so close
Makes some nice patches though

My bad you also need to set arp octave range to greater than 1

yeah so have the filter balance all the way to the left and have lfo modulating filter balance in the matrix, also have it double modulated(same mod twice) so x2 lfo 3 modulating filter balance so it makes it all the way to the right side/filter 2.
This should work so long as filter 1 and 2 are doing different speeds say lfo 1 modulating filter 1 cut off by 1/8 and lfo 2 modulating filter 2 cut off by 1/4 or whatevs.
Me, Zeno and antiserum are talking about sorting out some banks for the TI so watch out for that

Ben thanks very much for this and just to develop on the idea you can actually get it keytracked to the keyboard and it will glide if one note is pressed down if you add to the mod matrix keytrack modulating transpose by 32
Frickin awesome!

that's a drum beat with alot of processing on it. It sounds compressed/gated/ bitcrushed/panned/filtered and flanged, quite intense for a 10 second intro lol

For a metaliic sound i'd start off with an oscillator with the amp set for a percussive sound - immediate attack, short decay, low sustain and some release ( same as before) then add some frequency modulation for that clangy sound. Not had a chance to muck about with this one yet i'll see what i can come up with...

(Quote) One of the main percussive sounds of Brad Fiedel's score - the metallic beats of the Terminator theme - is not created by a synthesizer. It's Fiedel striking one of his cast-iron frying pans.

Sonar bleep is white noise into bandpass filter with lots of resonance, filter cut off up around 1 to 2 khz. Amp envelope with immediate attack, short decay, low sustain and lots of release. play around with the filter cut ff to get it at the right pitch.

Oh yeah and in terms of resampling i'm not a big fan of multiband splitting and then adding different effects onto the mid/high sections it's good for adding distortion and such but usually sounds awful if not done with restraint. I do render the basslines into audio and then chop the shit out of them though

For the oscillators it really depends on what type of sound your going for. Some examples would be say for that excision/noisia style bass it's all about osc 1 + 2 as square waves , synced , pulse width modulation by lfo1 , pitched at -12 for osc 1 and + 19 for osc 2. oscillator 3 as a triangle and the sub oscillator half way up at 64. Then into a bandpass filter with lfo 2 controlling filter cut off frequency on filter 2, or the mod wheel if you want to make some edits in your daw yourself. If your using the filters in series and using a high pass as the first one to remove sub frequencies then into the bandpass on filter 2 make sure you have cut off and filter link off on the filter tab. Also have unison on to beef it up 7 - 8 and bring down the detune so it sounds big but not too rinsed. You also might need to bring the pan spread down a bit cos it's usually way too wide.

Another example would be getting a real beefy sounding bassline using square or wavetable osc on 1 and a saw on osc 2 1 octave above not synced into high pass to low pass combo with lfo controlling filter 2's cut off. same deal with the unison ( or not , depends what your kinda sound you want from it).Also once you have the bass line running with modulation you can flick through all the different type of wavetables to get an idea how they sound whilst changing the wavetable index.

Another way to get a real beefy sounding bass is to have a filter combination of low pass into band pass with the cutoff link on and filter link off, the idea here is having the low pass set with a good bit of resonance (up to 12 o'clock on the resonance - again depends) so you catch a nice sweet spot in the 200 to 300hz ish are with out it being too muddy ( 300 to 500 hz area) then into bandpass at around the same cut off area ( i'm talking somewhere between 30 to 60 on the filter no.) with less resonance say 9 oclock on the res dial of filter 2. Then have some moduation to the cut off frequency, probably lfo 2 on both filter cut off frequencies again (50% modulation). Add unison and bobs your uncle, fannys your aunt