Drum and the Bass synth recommendations ....

RezN8

Ave it !!!!!!
I'm working on a DnB track with a friend, however, neither of us have any decent synth sounds in our library.

Does anyone have any VST / patch recommendations?
 
M

makdaddy

Guest
Junglist aint bad for that kinda thiing altho very generic and common sounds

Korg legacy has some monster dnb sounds too
 

soliptic

whirling mathematician
well, it sorta depends on the style of dnb. liquid, neuro, dubwise, clownstep...?

(bet you people didnt know there was such variety :P )

and it also depends on what you want it for, bass or leads?

for the bass liquid or dubby stuff you'll do ok with a trilogy preset into something nicely 'warming' and 'gritty-ing' like vintagewarmer or a valve/tube (emulation) compressor/distortion or whatever. but for modern techstep/neuro funk there is simply no way that any vsti synth will give you credible bass sounds out of the box...but, equally, almost any of em will be adequate as a starting point. reason being: its all about heavy resampling and layering. z-plane, distort, resample, layer, z-plane, distort, resample, layer, etc. the usual suspects (z3ta, imposcar, v-station) are all applicable here.

as for leads, well, really i suppose anything goes... if you're doing trance'n'bass type stuff then i like using imposcar cos its got nice filters and a good fat sound, or for more sci-fi stuff perhaps the more unusual/digital aspect of z3ta would be better... doesnt really matter.

but, if you want the "archetypal" type of synth stabs, for example a mentasm, then again you need to look at samples rather than synths.

as a general principle - dnb producers compared to psy producers tend to use samplers very heavily and synths somewhat less so.

since i'm (hopefully) helping, allow me to also cheekily plug my psy/goa influenced dnb stuff: http://www.psy-forum.co.uk/forum/showthread.php?t=30483

the previous time i put a sample of a track of that nature up here it got a big (positive) reaction, even from Ott(!), and it wasnt even finished. but mysteriously when i put up three finished tracks in 320 quality they get ignored altogether, so it needs all the spamming i can muster :P
 
6

6, 24 Lotus

Guest
soliptic said:
its all about heavy resampling and layering. z-plane, distort, resample, layer, z-plane, distort, resample, layer, etc.

could you explain this process in more detail? i'm more interested in the psy style of production, but dont seem to be able to get those really full on bass sounds, maybe this is the answer?
 

JPsychodelicacy

Studio Elf
Umm - Z-Plane? A bit of research says that this was a feature of E-mu's Morpheus, but what does it do and what does that sound like?

"Thinks yay! New stuff to geek over!"

J.
 

soliptic

whirling mathematician
JPsychodelicacy said:
Umm - Z-Plane? A bit of research says that this was a feature of E-mu's Morpheus, but what does it do and what does that sound like?

"Thinks yay! New stuff to geek over!"

J.

z-plane is a type of emu filter - its not just on the morpheus, its most famously found on their samplers. people like optical, teebee are renowned for using emu samplers and the filters are a characteristic part of the 'twisted/alive' sounds.

i would be lying if i claimed to properly understand it but its something crazy like it morphs from being a lowpass to being a hipass whilst you sweep the cutoff.

basically it just sounds all alien and twisted and whatnot.

altho historically the norm, an emu z-plane isnt the be-all and end-all tho. you can do fun things with complex software filters like the antares or quadfromage. i also get very good results by sweeping very tight eq notches.


6 said:
could you explain this process in more detail? i'm more interested in the psy style of production, but dont seem to be able to get those really full on bass sounds, maybe this is the answer?

well the gist is this

the dnb bass sounds i'm talking about sound extremely distorted and twisted, but if you just distort the living hell out of a bass sound then it rapidly gets to a point where it doesnt really sound that good at all. so its a process of combining filtering with distortion - distort heavily then filter/notch annoying bits out. you're actually looking to end up with surprisingly "thin" sounding, er, sounds. of course you dont want the final sound to be thin so you also layer lots on top of each other.

one critical thing for example is that distortion doesnt do so well on subs (since it very obviously turns that nice deep sine into a nasty square), neither do stereo fx (since you cant press stereo sub freqs to vinyl), so you always split the bass into at least 2 - one relatively dry and completely central sub layer, and one hipassed layer which you can skullf**k as much as you want. however if you want to go nuts it often helps to do more than just 2 - to have subs and 2 or 3 upper bands.

the layering also helps you with the "wtf did that just do" unreality of it all. for example, take a distorted reese, filter sweep (say, bandreject) one copy upwards, and filter sweep one copy downwards, then stick em together. the brain is all like - eh? and then if you resample all of that into one sound and filter sweep it AGAIN - you see where i'm going here?

[resampling, btw, is just taking whatever you have (sample, fx chain, etc) and bouncing it all into one new dry sample with whihc you can start all over again.]

basically the point to resampling is

- save cpu / free up hardware units again / etc [the obvious pragmatic reason]
- allow you to apply more repeated fx than your kit or brain could meaningfully do all in one go
- allow you to do things that arent possible otherwise: for example - reverse the resampled noise = reverse the fx on it too, pitch up the resampled noise = speed up the fx on it, too
- allow you to choose that one moment where by luck or by fluke everything 'came together' (filter resonances, notes, lfo movements, whatever) to create a particularly special timbre, and use that as the basic unit for all your notes

etc

i hope this is making some sort of sense

bear in mind i only know this in theory i'm not actually very good at doing it. (i sometimes wonder if thats because i dont have an emu, but we all know blaming your kit is naughty). if i could ever get anything like teebee-sick! , grooverider-where's jack the ripper? (optical's engineering work), or anything from the calyx-no turning back LP ... i'd die a happy man. but i cant.

if you want to hear from people who actually CAN do it (and how) then you could do worse than read this Q&A session with Noisia, who along with the aforementioned Calyx, are pretty much the current masters of super-nasty, super-twisted, filter/distort/layer basslines:

http://www.dogsonacid.com/showthread.php?threadid=298904
 

Fromem_Ory

Shantidisestablishment
good stuff soliptic... i think its totally important to remember the infinite possibilties of resampling. i love incorporating that non-stop fuckin of a sound, just keep on messing it up and making it more sensationally wierd until its totally gone. when i make splicey drum n bass i resample a fuck load, but often too with trance.
so you've fucked up a sound. now stick a flanger on it, but automate the feedback so that in the middle of the sound the feedback suddenly peaks and comes back down, creating the singy effect of a strong flanger.
bounce it.
now re-import it to your tune, fresh as a daisy on a clean channel. stick some bitcrusher on the channel, with some delay afterwards. automate the bitcrusher at interesting intervals, and exort the sound including its delay.
bounce it.
reimport it. this time, chop the delays of the sound into seperate little bits, and play with those individually. chop the original sound plus all the delays into their own little bits.
make a phat drum loop out of it, using reverses of the sound, 128th notes or even smaller with the snap off, reverbing-exporting-reversing to catch the ambience of a sound...etc.etc...
bouce it.
stick the loop into your choon, with the volume down so that it becomes a subtlety, and not a front-of mix in-your-face sound.
some may not even fully notice or appreciate it... but listening to the music with some headphones and maybe a joint will bring out the sound, the beauty of subtlety...
 

RezN8

Ave it !!!!!!
Many thanks for taking the time to divulge some great information here!

And you're right Steve, I didn't know there were so many flavours ... I need to do some more homework.

Ott^ said:
Minimonsta.
Is this your preference over the Arturia Moog Modular Ott^?
 

nik

Member
distortion is the key.....i used to use heavy guitar distorion fx on my old keyboards and got loads of knarly bass sounds from some very unassuming presets.
 
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