Tutorials

Tutorial: How to Make Nasty Filtered Bass in Massive & Ableton


Important Notice(s)

1) Listen on proper monitors or headphones.

2) You will likely piss off your neighbors while watching this tutorial.  Vespers, and his affiliates, agents, successors and assigns assume no responsibility for noise violation fines, structural damage, or moving expenses due to forced relocation from excessive amount of bass.

3) Don’t fucking put lipstick on a mutherfucking pig.  Don’t do it.

In this tutorial we cover a Zen approach to bass sound design in Native Instruments Massive using Ableton Live as the host.  We start with a single saw wave oscillator, then fatten up the sound using unisono, pitch detuning and pan spread.  Then we set Massive to respond to pitchbend data and program our clip envelope in Ableton to send pitch bends to the synth.  Next we set up bandpass and daft filters, using low resonance, and frequency cutoffs offset from each other, and automate the filters using Massive’s Macro function and Ableton’s track automation in Arrangement View.

Once we have the sound ripe and fat, we move on to applying effects such as brauner tube saturation to add in harmonic distortion, chorus to widen the sound further, EQ to shave off some highs and boost some mid-highs, hard clipper and bit crusher to add some nastiness and crunch, and a little coup de gras with filter feedback into the bandpass filter.

To beef up the sub-bass end of the patch, we group Massive into an Instrument Rack and add another instance of Massive.  We use a sine wave this time and throw a little classic tube on it for some low end harmonics, then EQ out the mids and highs.  We set it to respond to pitchbend in an identical way to the top patch and voila!

 
 

My first studio

So, an update from Vespers labs.  I’m in the process of moving from Salt Spring Island, where I’ve been hibernating in my ghetto cottage studio for 5 months, to Victoria where I am setting up the new ultimate-badass-audio-mangling-music-factory.  There’s a new acronym in there somewhere…  Anyhooooo, in this time of transition, I reflected back on days past and dragged this photo of my first studio…ever…from the far reaches of my hard drive.

It reminds me of my ghetto-university-student beginnings when I lived in a 4 plex with paper thin walls, produced on a PC (I just threw up in my mouth a little there…), wrote in Cubase (just about barfed again…”God please NOOOOOO not another right click menu in a right click menu in a right click menuuuuuuu, is this fucking program a digital labyrinth????”) and thought that “hardware” was the secret to getting good sounding music (hence the very expensive and pretty, yet cumbersome Akai MCF-42 filter unit hanging out in the front of my mixing desk like a Rolex on the arm of an uptight investment banker – which I never used in a single track…not fucking one by the way).  Aaaaah back in the day where my middle aged neighbor would pound on my wall with a broom stick because she couldn’t be bothered to walk her slightly less than morbidly obese ass over to my door to chat with me face to face.  Probably better that way.  I was a terrible tenant to live next to.  If I wasn’t producing, I was DJing out in the living room.

 

Thankfully things have now progressed to something that looks more like this.

The main things that have changed are as follows, and I’ll list them in order of importance.  If you’re looking for tips, I suggest you consider them in priority from top to bottom.  Top being most important.

1) I moved into a concrete and steel building with rooms on either side of my studio between me and the neighbors.  HUGE improvement in noise complaints…although I still got some.  But, I have a new strategy for dealing with them…. option A “Sure I’ll turn the music down…while I do that would you care for a tequila shot?” option B “Oh, this isn’t music.  We’re activating our chakras with sound vibrational healing.  You have to try it.  You start with the root chakra first – plays dubstep – “

2) Put up acoustic treatment on my walls.  Not foam, not egg cartons, proper pro-stuff from Primacoustic using their London 12 kit.  If you want more info on acoustic treatment, you can check out the video series I did on it here.

3) Because my monitors can’t sit on stands behind my desk, I used the Recoil Stabilizers to decouple them from my desk.

4) I got upgraded 8″ Mackie HR824 monitors, which actually sound accurate now in the properly treated room.

5) Picked up an Apogee Duet audio interface.  Very nice DA/AD converters for super clean audio.  Again, not a worthwhile investment before I got the room treatment and monitors to do it justice.

6) I’m a piano player so I grabbed the fully weighted, 88 key, hammer action MIDI controller from Akai, the MPK88.

7) This one should really go first, but I got a Mac.  Not just any Mac, a dual processor Mac Pro tower with 2 UAD-2 cards.  I call it “Big Mac”.  It’s my best friend.  If it had tits, I’d marry it.  Then get divorced in 3 years when the new model came out and upgrade.  Thankfully old Macs can’t take half your assets.

8) You see Kaos pads in this shot, but they’re shite.  Don’t bother with them.  I got gear lust one day and picked 2 of them up.  Never used them once.  Sound cheap.  Although, the pink one runs on batteries so if I ever have a power outtage then I’m firing that mutherfucker up, plugging in some headphones and going to town on that bitch.

 
 

How to Isolate Your Studio Monitor Speakers: Primacoustic Recoil Stabilizers Review


I’ve always been looking for ways to improve my mixes and recently my attention has turned to acoustic treatment of my studio.  For years I was buying all kinds of expensive speakers, sound cards and plugins to try and improve my music, but all this time the simplest, and cheapest solution was right in front of my nose.  Improving my listening environment!  In a blog post published by Universal Audio, the mixing and mastering engineer they interviewed said that the number 1 mistake most producers make is not addressing the room they mix in.

All kinds of things can cause trouble.  Each room has resonate peaks that cause certain frequencies to be accentuated.  Bass buildups can cause phase cancellation in your low end and make it tough to nail the bass.  Flutter echo and direct reflections can cause trouble perceiving your stereo field.

One of the major problems in small spaces is the use of studio reference monitors directly on your desk.  Your speakers vibrate and in turn vibrate everything on your desk, causing additional and confusing sound waves to be generated.  The way to handle this is to decouple the speakers from your desk, but how do you do that?  In this video we explore some ways and then discuss the best solution I’ve found, the Recoil Stabilizer from Primacoustics.

 
 

Upgrading Your Audio Production Computer


Vespers, Ableton Live Certified Trainer, discusses the best things to upgrade on your audio production computer.  We discuss hardware such as RAM, solid state hard drives, SATA drives, data doublers, DSP cards like the UAD-2, and sound cards like the Apogee Duet.

I answer questions such as..

1) Where is the low hanging fruit?  What should I upgrade first?

2) What are the most effective upgrades?  Is it RAM?  My hard drive?  My processor?

3) What is the role of the sound card?  Should I use an external one like the Apogee Duet or use my computer’s built in audio card?

4) What about external DSP cards like the Universal Audio UAD-2 Satellite?  How much to they help?  Are they worth it?

5) How does Ableton Live handle RAM, given it’s a 32 bit application?

6) How does Ableton Live handle multiple processing cores on processors like the Intel i7 quad core?

7) What can I do to expand the hard drive space on my laptop computer?

8) Does it make a difference if I use multiple hard drives on my desktop computer?