I have been reading the tutorials around here, and even though it (most likely) is pretty basic, I don't know what "sweeping" is in this particular case.
Here's an example:
quote:
Run a simple notch filter thorugh this sample (automate to taste, one sweep, 2 anything depending on what kinda movement ur after) u should start getting some nice "morph" sounds at certain points during the sweep, play around as you will find certain "sweet spots" that will make your reece start to sound nasty - Ketz
Unfortunately I cannot provide an example as i am on holiday and to be honest even if I was not I am too lazy in that regard!!
However, the process is simple enough that an explanation should suffice, thus providing you with your own example!
One way to go about it is set your notch filter cutoff to 0khz then automate to cutoff frequency to rise to 20khz over the course of 1 to 2 bars.
That is would be a full range sweep so to speak, not applicable to aforementioned midrange bass as both aubible and used frequencies will be between 150hz-8000hz(at the most in the majority of neurofunk basslines).
in this case for a full range sweep automate the cutoff from lowest frequency you are using for your midrange bass(ie 150, where you have high passed your mid range) to 8000hz(where you have low passed your midrange).
Obviously the frequencies mentioned are just examples and you have to find what works with the sound you are trying to create...you will most likely need to experiment.....chances are you may like the sound of a shorter sweep ie 350hz to 1000hz or something...who knows as I am not you!!
btw: obviously you also route an lfo to the filter and get a completely different type of movement!!
__ Heavy Nu-Neuro-Check out new 174bpm monster-Liberation (WIP):
This post has been edited 1 time(s), it was last edited by TarekFM: 31-12-2010 16:17.
Originally posted by jeffijoe
I have been reading the tutorials around here, and even though it (most likely) is pretty basic, I don't know what "sweeping" is in this particular case.
Here's an example:
quote:
Run a simple notch filter thorugh this sample (automate to taste, one sweep, 2 anything depending on what kinda movement ur after) u should start getting some nice "morph" sounds at certain points during the sweep, play around as you will find certain "sweet spots" that will make your reece start to sound nasty - Ketz
Examples would be nice
- Jeff
hey bro, when i say "sweep" in the above example all i am referring to is automation
so just the movement of the filter frequency slider that u can record on ur DAW
@Tarek - Unfortunately, in CamelPhatt I cant see the frequency range when I am "sweeping"
Besides, I don't fully understand how that all works
@Ketz - When you do the sweeping, do you do it on the whole sound source, or only a part of it, like the mid's? Because I have been trying to do the Lo-Mid-Hi splitting, and it's not producing the results I am looking for
I can answer that question for him as I am sure of the answer!!
Leave the lows(sub) alone for consistency.
Do filter automation on mids/highs.
Since you are using Camel Phat...just automate the notch filter in a way that sounds good, prob better that you have no freq indication...will force you to use your ears and as the rule goes: If it sounds good it is good!!
__ Heavy Nu-Neuro-Check out new 174bpm monster-Liberation (WIP):
Originally posted by TarekFM
I can answer that question for him as I am sure of the answer!!
Leave the lows(sub) alone for consistency.
Do filter automation on mids/highs.
Since you are using Camel Phat...just automate the notch filter in a way that sounds good, prob better that you have no freq indication...will force you to use your ears and as the rule goes: If it sounds good it is good!!
Cheers mate!
What do you recommend for sound source? I currently use a 3xOsc to make a reese, but the results are not as good as I want. Massive, maybe?
Try Massive out, to be honest though I do not own it, so thusly have never used it in a track.
If I am more honest, synth you use is almost irrelevant. I don't use any "pro" quality synths, however, I get pro results.
If you are going for the classic sawtooth based reece(like spor for ex) maybe try more oscillators....3 can work, however if u are looking for a thicker sound you should probably ram some in there.
Just to be clear, the quality of the sound source does matter ie minimum of 16bit 44100hz audio...etc etc
I find that the vstfx, filters, distortion u use and how you modulate matter more.
At the moment I am exclusively using freeware in that regard as well.
__ Heavy Nu-Neuro-Check out new 174bpm monster-Liberation (WIP):
Originally posted by TarekFM
Try Massive out, to be honest though I do not own it, so thusly have never used it in a track.
If I am more honest, synth you use is almost irrelevant. I don't use any "pro" quality synths, however, I get pro results.
If you are going for the classic sawtooth based reece(like spor for ex) maybe try more oscillators....3 can work, however if u are looking for a thicker sound you should probably ram some in there.
Just to be clear, the quality of the sound source does matter ie minimum of 16bit 44100hz audio...etc etc
I find that the vstfx, filters, distortion u use and how you modulate matter more.
At the moment I am exclusively using freeware in that regard as well.
Well, as I said, I use 3xOsc. I only use 2 Oscillators though, maybe that was bad..
What type of distortion do you use? Do you modulate that aswell?
try modulating every thing, something's over a short time others over longer.
something's a lot others a little.
a "reese" is a simple sound anything with dual osc can make it, it's what you do with the fx's and automation that gets the nasty sound i'm guessing you are after. you aint gonna press a key and instantly get that kind of sound. as has been said, roll off the low end, try without splitting the freq's first to get and idea of the movement you can produce. Even loading up a parametric eq2 and sweeping a parameter( with some gain try 10db) manually with give you an idea of a sweeping sound.
Originally posted by jeffijoe
Well, as I said, I use 3xOsc. I only use 2 Oscillators though, maybe that w....as bad..
What type of distortion do you use? Do you modulate that aswell?
Forgive me! An assumption was made that I knew what 3xosc was!
I do not and have never used FL studio, so 3xosc can also be read as........ well, simply 3 x(times symbol) osc(oscillator abbreviation)...it appeared to me that you were questioning the use of 3 oscillators..
In any event, I hear FL studio is quite good in many aspects(contrary to misinformed opinion)...I like Image Line plug ins a lot...you should have a pretty good arsenal on your hands.
I however, use Renoise, and thusly use many of its native fx dsps, including distortion.
The sound and timbre you hear in my basslines is not so much a result of distortion.
I use distortion more to add character and dirt to the sound as opposed to defining it.
One thing I don't modulate is my distortion....I use lots of filter modulation.
Using two oscillators is fine, I have gotten good results using two...I just like using a bit more lately....I think i may try using just 2 again to push myself in terms of sound design, see what I come up with.
__ Heavy Nu-Neuro-Check out new 174bpm monster-Liberation (WIP):
This post has been edited 1 time(s), it was last edited by TarekFM: 02-01-2011 23:02.
If you've ever used a 'comb' filter before; that sounds like a notch filter having it's cut-off (or should I say, 'band-stop') moved, or 'sweeped', from 127 to 0; or vice versa.
The notch filter itself filters out the frequencies that are at where the cut-off point is set, so it can also be known as a band-stop filter. If you want to create an all-pass; then create two copies of the synth, set the same frequency for each, but have one set as to a notch, and the other set to BP (band-pass!). I'll continue this post later as I have skool...
Continued -
Time for a fuckin' analogy. You most likely already know this; but I'll say it anyway because I want some more experience points so that I can upgrade my level ha ha ha ha ha.
Lets say that you've got the numbers 1 to 10 on a scale of, well, 1 to 10. We'll say that 1 represents the lower frequencies, 5 represents the middle fq's (frequencies) and that 10 represents the higher fq's.
0---1---2---3---4---5---6---7---8---9---10
LP - low pass filter
Let's say a low pass filter is placed at number 4. All the numbers below 4 will be passed, but not the numbers above (5, 6, 7 etc).
HP - high pass filter
Now let's say that a high pass filter has been placed at number 7. All numbers above this are passed, but all numbers below 7 are not. Therefore, HP is opposite to LP.
BP - band pass
If this was, say, placed at 5, then the number 5 would be passed, however the numbers above and below 5 would not be passed.
Notch - band stop
If this was, say, placed at 3, then the number 3 would be blocked, however all other numbers would not. As you can see, notch is opposite to BP.
If your soft synth has 2 filters, then this will be very useful when it comes to using a notch filter. Using a notch filter enables the sound to become rather loud in comparison to the other filter types, as only a narrow band of frequencies are blocked. If you can get, e.g., a low pass filter AFTER the notch filter stage, then you can do frequency sweeps that will be a lot different than a sweep on a notch filter on its own. More control over it!!!
I said earlier about creating an all-pass filter on a sound. I had another idea soon after that, I didn't have time to write it though:
You can create your own notch filter where the bandwidth*/amount of frequencies blocked is decided by you. To do so:
Create two instances of a synth. Get them in a Combinator (well, that's what us Reason-ers have) so that pressing a note will sound both of the synths.
Riggghttt, now set the frequency parameter on one of the synths to the top, and set it to LP. For the other, set the frequency parameter to the bottom, and set this to HP. [The LP filter will reach, or rather, end at the lowest HP frequency, while the HP filter will start from the highest LP frequency - again giving an all-pass filter.] If you now move the LP parameter up, or the HP parameter down; then the notch can be made wider. Also try applying an LFO to the filter frequency of either synth. Say you set the LFO rate for one synth to 3/16, and you set it to 4/16 (or 1/4) for the other. Cool or what, my friend! Also try applying LFO to pitch blah blah blah
*bandwidth= 70% of all frequencies
__ CtMc
This post has been edited 4 time(s), it was last edited by Ciaran: 06-01-2011 21:04.
Originally posted by jeffijoe
@Ketz - When you do the sweeping, do you do it on the whole sound source, or only a part of it, like the mid's? Because I have been trying to do the Lo-Mid-Hi splitting, and it's not producing the results I am looking for
completely depends on the bass i'm working on, what filter mode its set to, there's no hard and fast rules really, as long as it sounds good!
Besides, I don't fully understand how that all works 
