The specific sound is not my cup of tea, but nice video and really nice idea :D I would usually try to achieve something similar by distorting the noise into the bass- Basically, think of doing some soft clipping right at the ceiling of the bass, so you don't actually clip the bass itself as it is still slightly below the ceiling. But the noise will now be clipped when combined with the bass, but only at the peaks of the bass. And it will only be clipped if the peaks match the polarity of the bass. If the polarity polarity of the noise peaks are the opposite of the bass, it will subtract from the bass, technically giving you lower relative LUFS compared to your technique (if I'm not mistaken), but keeping your peak levels and contour consistent. This gives you a really nice uniform contour that has a similar sound to bias distortion as half of the waveform of the noise will be cut, but only when the bass is peaking, as well as giving it a similar kind of amplitude modulated relationship that ring modulation would give. Main issue with this technique is it doesn't work well with a moving peak, unless you measure the peak of the bass and move the clippers ceiling accordingly. Might be an interesting idea to steal if you like ;) Honestly, doing this with ring modulated noise, then combining these techniques would also be really fun. That way you avoid the headroom issue, but you still get more of that high end intensity that matches the bass's contour more.
Thank you for your input! This is actually exactly what happens in Clip Mode of my plugin, if I got you correctly. There's no extra calculation happening that makes sure it only clips parts of the noise that have the inverted polarity of the modulator, but I wasn't sure if you meant that as a separate feature or just described that that's what happens when you put the clip ceiling right above the modulating bass (which I assume). The big advantage of using FLVTTER is that both sounds remain separate, so whatever kind of modulation you do, you can always EQ and process the sounds separately further afterwards! Finally I want to admit that I don't really use this specific fluttery sub sound in my music either, it's just the easiest example to explain what's happening inside my plugin. Cheers!
FLVTTER also allows you to adjust both the main and sidechain input level without affecting the actual output level, so you don't have to manually compensate for added or lost volume and can focus solely on the effect! For me personally, I must admit that soft clipping only above the maximum height of the bass would have too small of an impact on the sound. It feels similar to what I can quickly get with Ring Mod plugins, given I don't use Patcher to crank up the sidechain input level beforehand. I would desribe the result as a very soft fluttery.
@@man-bm7hq dunno, zef parisoto says that their plugin has more control and other features. im just saying that the idea that other ring modulation plugins peak high is conceived through a misunderstanding of how they work.
Damn, thank you for pointing it out! I was fiddling around with the bias and rectify settings to get the most audible effect, but you're right, this way the relationship between high and low peaks is inverted!
@@cutewavelets Other Ring Mod plugins don't necessarily have those two settings though! Ring Mod in its pure form does indeed work like I'm saying in the video. Shoutout to Kilohearts for supplying a few more options to modify the input before applying the modulation! Sorry for the misconception.
Hi! This plugin seems pretty dope!!! Just have a few questions: How did you make it? Was it inspired by Borrasca's video on ringmod sidechaining (ua-cam.com/video/OzLEwdcDXWo/v-deo.htmlsi=h_P16CBK19c3-t0X)? How did you make the automatic volume compensation feature in the plugin?
Hi! I used JUCE to make it, it's pretty much what the whole internet throws at you when you want to start with plugin dev! It was not inspired by Borrasca's plugin in any way, but of course people rightfully pointed out that it existed after I published mine. It also seems like a handy tool! FLVTTER isn't used for any ducking though, only for that particular fluttery effect with maximum control and practicability! The volume compensation uses a lazy factor, so it's like very slowly following the absolute values of the sidechain input. A normalized triangle wave for example would roughly average out at 0.5, sometimes a little higher, sometimes a little lower. This factor is then added to 1 and multiplied with the carrier. That's it!
@@ZefParisotoIs the plugin made using the same method as Borrasca's (rectifying, ringmod, polarity invert), using a similar method, or is it just coded using pure mathematical formulas and algorithms?
The specific sound is not my cup of tea, but nice video and really nice idea :D
I would usually try to achieve something similar by distorting the noise into the bass-
Basically, think of doing some soft clipping right at the ceiling of the bass, so you don't actually clip the bass itself as it is still slightly below the ceiling. But the noise will now be clipped when combined with the bass, but only at the peaks of the bass. And it will only be clipped if the peaks match the polarity of the bass. If the polarity polarity of the noise peaks are the opposite of the bass, it will subtract from the bass, technically giving you lower relative LUFS compared to your technique (if I'm not mistaken), but keeping your peak levels and contour consistent.
This gives you a really nice uniform contour that has a similar sound to bias distortion as half of the waveform of the noise will be cut, but only when the bass is peaking, as well as giving it a similar kind of amplitude modulated relationship that ring modulation would give.
Main issue with this technique is it doesn't work well with a moving peak, unless you measure the peak of the bass and move the clippers ceiling accordingly.
Might be an interesting idea to steal if you like ;)
Honestly, doing this with ring modulated noise, then combining these techniques would also be really fun. That way you avoid the headroom issue, but you still get more of that high end intensity that matches the bass's contour more.
Thank you for your input!
This is actually exactly what happens in Clip Mode of my plugin, if I got you correctly. There's no extra calculation happening that makes sure it only clips parts of the noise that have the inverted polarity of the modulator, but I wasn't sure if you meant that as a separate feature or just described that that's what happens when you put the clip ceiling right above the modulating bass (which I assume). The big advantage of using FLVTTER is that both sounds remain separate, so whatever kind of modulation you do, you can always EQ and process the sounds separately further afterwards!
Finally I want to admit that I don't really use this specific fluttery sub sound in my music either, it's just the easiest example to explain what's happening inside my plugin.
Cheers!
FLVTTER also allows you to adjust both the main and sidechain input level without affecting the actual output level, so you don't have to manually compensate for added or lost volume and can focus solely on the effect!
For me personally, I must admit that soft clipping only above the maximum height of the bass would have too small of an impact on the sound. It feels similar to what I can quickly get with Ring Mod plugins, given I don't use Patcher to crank up the sidechain input level beforehand. I would desribe the result as a very soft fluttery.
@@ZefParisoto thanks for elaborating! I might check it out, that sounds dope as hell :D
magic fr
Hello sir. I think you are using khs ring mod for sidechain wrong. To make it peak low, you are supposed to put rectify at -100% and bias at 100%.
Would that lead to the same result?
@@man-bm7hq dunno, zef parisoto says that their plugin has more control and other features. im just saying that the idea that other ring modulation plugins peak high is conceived through a misunderstanding of how they work.
@cutewavelets thanks I've got no money so il try ring modulation first
Damn, thank you for pointing it out! I was fiddling around with the bias and rectify settings to get the most audible effect, but you're right, this way the relationship between high and low peaks is inverted!
@@cutewavelets Other Ring Mod plugins don't necessarily have those two settings though! Ring Mod in its pure form does indeed work like I'm saying in the video.
Shoutout to Kilohearts for supplying a few more options to modify the input before applying the modulation! Sorry for the misconception.
Hi! This plugin seems pretty dope!!! Just have a few questions:
How did you make it?
Was it inspired by Borrasca's video on ringmod sidechaining (ua-cam.com/video/OzLEwdcDXWo/v-deo.htmlsi=h_P16CBK19c3-t0X)?
How did you make the automatic volume compensation feature in the plugin?
Hi!
I used JUCE to make it, it's pretty much what the whole internet throws at you when you want to start with plugin dev!
It was not inspired by Borrasca's plugin in any way, but of course people rightfully pointed out that it existed after I published mine. It also seems like a handy tool! FLVTTER isn't used for any ducking though, only for that particular fluttery effect with maximum control and practicability!
The volume compensation uses a lazy factor, so it's like very slowly following the absolute values of the sidechain input. A normalized triangle wave for example would roughly average out at 0.5, sometimes a little higher, sometimes a little lower. This factor is then added to 1 and multiplied with the carrier. That's it!
@@ZefParisotoIs the plugin made using the same method as Borrasca's (rectifying, ringmod, polarity invert), using a similar method, or is it just coded using pure mathematical formulas and algorithms?
@@NNNNNNNNNN-nnnnnnnnnn It's doing the latter! Here's an explanation on how the functions work ~ ua-cam.com/video/wONRpcB4mUc/v-deo.html