As someone who uses Phase Plant as their main synth of choice, I really appreciate this! The fact this isn't more popular (both Phase Plant & this tutorial) is criminal. Thanks for the great tutorial my man!
very cool. Adding a noise osc with the level very low (at like 0.5%) can yield some very cool high end crispiness. Also for the FL users out there: putting a vocodex on this and playin around with the settings can lead to some bonkers sounds.
really shows the power of phase plant but i never want to sit down to make a sound for a track and try to understand the logic of making a sound that requires this much thought, to me this is just way way too much
Where you find it to be "too much" ? Like legit notch filtering ( with some small random filter movement )->distortion (or heavy compressing) this chain gets multiplied (for example 10 times in a row ) Then some post processing and you can resample the result.
@@youtubeimi6480 ya dude i can see what he's doing, i just don't understand the processing to getting the sound, like using reverb or delay to achieve an echo
@@hooch8395 a small room reverb might do the work,but you can experiment with it, I also like to make a seperate input track for the reverb and ducking it with an original signal ( make sure the reverb not picking any information up under 100hz.) But thats just my go to, you can make all kinda crazy post processing with it. 😀
@@youtubeimi6480 sorry dude i think you misunderstood me, what i mean is when i apply a generic effect to a sound i kind of usually know whats going on with each parameter of the effect but when i saw 10 compressors being applied to achieve this sound i am dumbfounded as to the logic of the process.....
When you filter/distort combo it adds a whole bunch of harmonics (which is just kinda like added noise, hence what makes the distorted sin “crunchy.”) Those harmonics are very loud so you use the compressor to smush it back down and level everything out. You keep repeating the process to get all type of cool harmonics added at different frequencies, while keeping the volume of everything pretty level
Great sound! I tamed the artifacts by adding a gain at the end mapped to an envelope to control the end sound like an amp envelope.
Good idea! Man I love Phase Plant.
wonderful stuff mate, i love the aftifacts at the end!
As someone who uses Phase Plant as their main synth of choice, I really appreciate this! The fact this isn't more popular (both Phase Plant & this tutorial) is criminal. Thanks for the great tutorial my man!
very cool. Adding a noise osc with the level very low (at like 0.5%) can yield some very cool high end crispiness. Also for the FL users out there: putting a vocodex on this and playin around with the settings can lead to some bonkers sounds.
Awesome tutorial Ruben, much appreciated!
Hands down, this is awesome! Thank you, man.
Thx for video I subscribed
the video i was searching for ty bru
hell yeah thank you
I just tried this using native ableton plugins... sounded absolutely nothing like this :(
ua-cam.com/video/tLIsi8GEI0g/v-deo.html
Can the filtering + upwards compression stacking trick be applied to non-neuro basses?
Well, at the end of the day it's electronic music, where you can do whatever you want to, so i guess yes it can be.
Holyshit 99% of the Tutorials I watch, especially Neuro/Drum and Bass Tutorials their basses sound like poopoo, but this is some fine ass sine bass!
really shows the power of phase plant but i never want to sit down to make a sound for a track and try to understand the logic of making a sound that requires this much thought, to me this is just way way too much
Where you find it to be "too much" ?
Like legit notch filtering ( with some small random filter movement )->distortion (or heavy compressing) this chain gets multiplied (for example 10 times in a row )
Then some post processing and you can resample the result.
@@youtubeimi6480 ya dude i can see what he's doing, i just don't understand the processing to getting the sound, like using reverb or delay to achieve an echo
@@hooch8395 a small room reverb might do the work,but you can experiment with it, I also like to make a seperate input track for the reverb and ducking it with an original signal ( make sure the reverb not picking any information up under 100hz.)
But thats just my go to, you can make all kinda crazy post processing with it. 😀
@@youtubeimi6480 sorry dude i think you misunderstood me, what i mean is when i apply a generic effect to a sound i kind of usually know whats going on with each parameter of the effect but when i saw 10 compressors being applied to achieve this sound i am dumbfounded as to the logic of the process.....
When you filter/distort combo it adds a whole bunch of harmonics (which is just kinda like added noise, hence what makes the distorted sin “crunchy.”) Those harmonics are very loud so you use the compressor to smush it back down and level everything out. You keep repeating the process to get all type of cool harmonics added at different frequencies, while keeping the volume of everything pretty level
The modern equivalent of stacking 50 OTTs
Okay, I did the patch, this is purely insane. Thank you big time, the filtering + upwards trick is crazy
now all you need is a better Micro level setting as you sound so far away versus the Neuro sine comp bass it is actually not nice to listen to this