What makes dubstep filthy

Post by Dezbeatz92 » Wed Feb 16, pm. Post by muntz » Wed Feb 16, pm. Post by fractal » Wed Feb 16, pm. Post by Sageon » Wed Feb 16, pm. Post by sigbowls » Wed Feb 16, pm. Post by Molzie » Wed Feb 16, pm. Post by capo ultra » Thu Feb 17, am. Post by nilo » Thu Feb 17, am. Post by fractal » Thu Feb 17, am. Post by rinseballs21 » Thu Feb 17, am. Next add another oscillator to create high information for a sense of air. FM Design To start with a solid foundation, we use a sine wave based oscillator.

A pure sinusoidal waveform is the most clean, and therefore most powerful wave we can create and being infinitely smooth, it has nothing but its fundamental frequency to impart. On its own, a sub instrument can be nice but our examples throughout the article contain sub, mid and high range information.

In this particular genre, FM synthesis seems to be the main staple for bass creation. Because of how FM synthesis works, it becomes very simple to create complex, warped sounds. Experiment with different processing on your grouped bass sounds to fill or create space to all sounds as a whole.

This will help unify them and put them in their own space within the mix. FM Synthesis allows us to create very warped tones by using oscillators to modulate other oscillators. But detuning the modulating oscillator, or changing its wave type, it will venture into noisy and unpleasant timbres. Sweeping the amount of modulation being applied is key to achieving the FM bass sound used countless times in this genre.

So be sure to explore tuning, waveform choice, waveform phase and additional oscillator routing to move away from the norm. Playback speed alters when playing a sample higher or lower and this adds a character of its own to a bass idea. To find the sweet spots of where the X and Y best overlap, we started with random automation data, then fine tuned the automation until we achieved a groove and interesting timbre shift against our varied drum track.

To underpin an FM instrument with a clean sine wave to emphasise bass, we can simply enable another operator, set to sine and keep it modulation free. This means we have all elements of the sound available to play in one instrument. There are two different categories you can put audio processing into when it comes to bass: creative and mixing. Creative processing can be a fundamental part of a sound or punched in on occasion to create a timbre shift for dynamics and variation.

So the more you experiment with the less common options, the better. Mix processing involves the use of EQs and dynamics processing to balance each sound to fit comfortably within the track. We generally used multi-band processing that also includes an element of saturation. This allowed us to firm up certain areas of the frequency spectrum and add harmonic information per-band or mid and side plane as required.

Not just for aesthetics and housekeeping but mainly to give groups of sounds their own identity and colour in the mix to help them stand out as a unit. This solidifies its range and defines its space, allowing other groups to cut through around these main bass elements.

Turn the Resonance up to You can now sweep or automate the Rate knob to dynamically change the rhythm of the LFO2-to-filter-cutoff automation.

Turn off the Filter and Compressor sections and copy the Distortion and Master settings shown here for a chunky, distorted sound without too many nasty high frequencies. Step 5: This simple sound is based around a square wave.