How to make this fat gritty bass

A

aregrong

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Anyone know how to make this ultra-fat gritty bass (also used as lead) ? See: youtu.be/c5MMmMUNz6E

 
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Few replies here, must be because Moor's basslines are near impossible to replicate. There is only one VST synth able to pull this off - with enough grit, bottom and engine power - and that is Trilian. Key to making this bass/lead is a fat saw, flame distortion and chorus. Trilian rules !!
 
Another reason could be because this same question has been asked on a daily basis since this site was created. I'm sure if you scroll through this forum under the Sound design section you'll find your answer.
 
Do you honestly think I would bother starting a thread if the answer were already here ? I've also googled for several days. Fact remains. The bass in In Your Arms by Andy Moor is very hard to replicate using VST.
 
aregrong said:
Do you honestly think I would bother starting a thread if the answer were already here ? I've also googled for several days. Fact remains. The bass in In Your Arms by Andy Moor is very hard to replicate using VST.
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If it's that hard to replicate, then I'd say you should try using analog synths. To be honest, I believe this can be achieved by VSTs, because I listen to this kind of sound pretty often.
 
You might be right, Trilian comes quite close. I know Zebra can pull it off 100%, but that synth is really advanced and would take ages for me to master...
 
aregrong said:
You might be right, Trilian comes quite close. I know Zebra can pull it off 100%, but that synth is really advanced and would take ages for me to master...
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You can bet that it took the artist the same amount of time to master the synth he uses (maybe less, maybe more).
 
You can definitely use a VST to get that sound. If you're good at layering, you can get pretty much any sound. Not saying it was easy, but I think it depends less on what you use and more on the experience of the producer.

With that said, I think it's a dam good track.
 
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Ametrine said:
You can definitely use a VST to get that sound. If you're good at layering, you can get pretty much any sound. Not saying it was easy, but I think it depends less on what you use and more on the experience of the producer.

With that said, I think it's a dam good track.
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Yeah, it is a good track. If I'm not mistaken, you can hear these kind of fat, gritty basses on many Noisia's songs.
 
Ametrine, yes - it's a damned good song, and you're probably right about sound depending more on experience than the synth. I am trying to replicate it in order to learn the dark art of synthesis. Another song I'm working on is Between the Rays by Orjan Nilsen, a really catchy tune, I managed to build the lead and bass using Zebra. Been using modern VSTs mostly, I can't get them to sound right when it comes to Andy Moor. The vintage analog VSTs from Arturia sound absolutely amazing (!) and seem to be the right engines to employ in order to get the Moor sound.
 
so I just listened: there is nothing special here

saw wave possibly super saw - 2 saw wave oscillators tuned an octave apart with some +/- detuning (about 10 cents) on each to make it sound a little wider

vca adsr A:3; D:7; S:6; R:2;
filter adsr same
no resonance

in addition the filter is modulated by a positive going ramp/sawtooth lfo that is bpm synced at the crotchet/quarter note
 
Bandcoach, much obliged for someone finally taking the time to detail parameters. What synth would you recommend for this ? Believe I tried what you describe in Sylenth, but could not get the right sound.
Is there filter modulation or is the side-chaining making it hard to tell ?
 
I will check out tal bassline 101, even though it only has 1 oscillator. My DAW is Cubase 7.5. I suspect Sylenth would be appropriate also ? I btw got Arturia Prophet V y'day, it sounds amazing, but a complex thing.
 
Tested a lot of synths now. Bandcoach, you are absolutely correct about the positive sawtooth LFO modulation of the cutoff using sync. In addition the bass is heavily side-chained. It was hard to find a synth that sounds good when combining side-chaining and LFO modulation of the cutoff. I ended up with Prophet V and Mini V by Arturia, these are perfect for making the Andy Moor sound.
 
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