MAKE WORLD CLASS DUBSTEP BASS IN MINUTES WITH FM8
There are any number of different synths you can use to create dubstep. What you’ll find is FM synthesis allows you to create better dubstep sounds with half the effort.
With other synthesis methods you have to do a lot of tweaking, filtering and modulating just to get something interesting.
With FM synthesis, within seconds you can create new and exciting sounds.
p class=”quote”>Thanks for the awesome videos, absolutely taken me to another level in my production, especially my understanding of synthesis… I went from a preset whore, to custom-sound connoisseur – well im not that good – but def a huge improvement !!
LEARN DUBSTEP BASS FROM MASTER PRODUCER LEISURE B
TAKE A STAB
Dubstep is all about intoxicating bass. After you watch the intro video, pull up this lesson to learn how to create a classic stab bass. Remember, FM synthesis has both a carrier and modulator signal think of it as a very fast vibrato with a wide range of modulation wave forms. In this video you will find out:
- How to visualize the sound you want and plot it on the oscillator routing matrix. (And quickly enable each of the six oscillators and different routing paths.)
- How to create intricate signal paths by routing oscillators back on themselves and each other!
- How to sharply cut a waveform to get a grubby, grimy sound. (You can use the spectrum view to find these unique harmonics.)
- The ONE critical factor that keep things running smoothly. (Forgetting this means chaos and mayhem for your patches!)
- How to use raw modulation with a steady sine wave for a steady bass. (And how to double up modulators for grimier sounds.)
- Secret keystroke shortcuts to find every available menu selection to shorten production.
- How to invert an oscillator to get a low nasty sound (In fact, altering output volume of the modulators has a real nice effect on the overall sound. By applying amplitude modulators you can create an enormous variety of sounds with a couple of basic changes!)
- The inner working of one of the coolest feature of FM8: the pitch envelope. (It enables you to simultaneously modulate all the oscillator frequencies with one envelope!)
Once you’ve got a solid bass stab, it’s time to create a riser. The riser bass adds excitement and dimension to every track.
The trick is to get the little details right before dropping it into a full arrangement. The riser will be programmed in such a way that it will rise up to the played note. It will be played in a higher register. This video will outline:
- The little-known method to give risers space and character by using two extra oscillators (We’ll show you the trick of how to pan them in opposite directions with slight differences in modulation and pitch!)
- How to create steady motion to risers by using the envelope sustain as an LFO!
- The right way to use the pitch envelope to build strategic risers. (Do it the way Leisure B shows you and you are on your way to a signature sound.)
- How to correctly measure risers so they fit exactly in the mix. (Otherwise they can get away from you like a dog running after the mail truck!)
- The best way to properly set the slope so even the grittiest, grimiest, dirtiest riser is nice and steady.
- How to add dramatic movement to different risers by layering envelopes on top of oscillators!
- How to make risers even bigger! (The trick is adding unison voices with plenty of stereo width. We’ll show you the best way to do it with detuning and panning.)
STEP-BY-STEP TO KICKING ASS
Long time dubstep master Leisure B gives you concrete, step-by-step instructions to create kickass sounds within minutes.
While many video tutorials give you a lot of theory and little meat, Leisure B does the opposite.
In fact, he tells exactly which area to click, which parameter to adjust, and even provides specific numbers down to the third decimal!
In video one you’ll get a quick refresher on FM synthesis and a snapshot overview of the series.
In the second video you dig right in and create a bass stab (The first of three bass sounds and two complementary sounds.)
Video three takes you through the construction of that dubstep staple, the riser.
In the fourth video, you’ll discover key shortcuts to build one of the most popular dubstep sounds, the dirty wobble bass.
Video five shows you how to craft two different bass complementing sounds- a “screaming” sound and a “vocal mod” sound.
The final video ties it all together with a fully produced arrangement. You’ll see how to make the final sound even better with specific EQ and master track production secrets!
” I just wanted to let you know your videos are amazing. I used frequency modulation synthesis before I found your site but never got this in depth with the software!
Dubstep has been rolling for many years now. After all that time, people still get excited over a great wobble bass! If you do it wrong, it can sound disastrous. Again, Leisure B sets us on the correct path by carefully demonstrating how to build the perfect wobble:
- How to invert a waveform and cross feed the signal to make it extremely dirty. (You’ll use this basic sound to create the wobble effect.)
- How to use the spectrum window to create real gorgeous harmonics.
- How to vary the sustain and slope of the carrier envelope that creates the wobble. (This will create a gradual decrease in the highs so the wobble gets more dynamic!)
- The best way to use the LFOs to modulate the volume on the oscillators.
- WARNING! Be aware that, by default, on each new sound patch the key and velocity scaling on both LFOs is turned on. (Make sure that you always set these values to zero or the speed of the modulation will be changed by the tone height and velocity of each note – a bad idea!)
- A little trick to use the signal directly to get steady modulation (You’ll see how to disable the pitch modulation and create new routings right to the oscillators.)
- How to improve the wobble by avoiding tempo sync (Instead you’ll learn how to manually tune the delay to create the best groove!)
- An easy way to further upgrade the sound by setting Unison voices in the master window. (You’ll see how to make the sound wide and low with specific detuning and panning).
COMPLEMENTARY BASS SOUNDS
To create more interesting bass lines, many top producers add complementary synth sounds. For example, they may add a set of interesting high tones to the notes the bass synth is playing. This can be achieved a number of ways. In Video 5, Leisure B details how to create two separate complementary sounds to give your bass lines even more texture and tension. You will discover:
- How to create complementary sounds with a noise generator or randomly modulated waveforms.
Click-by-click directions to set up oscillators X and Z to route audio right through their own effects.
- How to get an oscillator to modulate itself for a noisy effect. (And how to increase the randomness to make it even noisier!)
- How to make a sound livelier by adding inverted envelopes. (On the flip side, you’ll find out when to use ultra-minimal modulation to add softness for contrast.)
- How to get a sound to scream by tickling the noise generator in just the right spot.
- The best way to set a pitch envelope with a disabled sustain to create a classic turntable “scratch.”
- How to create a good old vocal mod sound to add excitement to the composition (And how to link up multiple envelopes to create powerful volume progressions.)
- How to create cool portamento slides with NO overlapping notes.
- Little known techniques to create killer vocal effects by combining the “talk wah” with dynamic portamento slides WITHOUT unwanted distortion!
Insider tricks to create an extended release envelope for a machine-gun impulse attack!
WHY FM8 FOR DUBSTEP?
Leisure B has worked with frequency modulation to create dubstep for many years.
In his school days he spent hours with the famous Yamaha TX81Z rack synth, creating flute and bell sounds.
Eventually, the minimalist interface frustrated him and he drifted away from it after he graduated.
That all changed when he discovered FM8. Now he uses it to create most of his dubstep sounds. Leisure B explains:
“Since dub step basslines are completely diverse they’re not very easy to create with regular synthesis. It is not unusual to resort to extreme filter settings and modulation to get rough edges and interesting movements. FM synthesis allows you much easier ways to create the desired output. For example, by putting a complicated envelope on a modulator, it is possible to create a very diverse and rich sound by only using two simple waveforms.”
He calls it “the quantum physics of synthesizing sounds”
In other words, you get better dubstep sounds a lot faster with FM8. In these exclusive videos, Leisure B shows you exactly how to do it!