What plug-in can I finf this sound at?

Dennis1990

New member
Dj Mustard has use the sound as a main melody in 4 songs that I know of

Does anyone know where I can find this sound?



 
I would like to find those sounds as well. I imagine they aren't too hard to recreate though. I don't have the time for that though or knowledge.
 
I doubt you'll ever be a good producer if you don't learn a little sound design. Presets are ok but I always feel guilty if I use them because it's cheating a little bit.

You definitely don't need a preset for that sound-it's really simple and I can tell you how to do it without having to go away and play with it myself.
Get a square wave, put an envelope on it's pitch with no attack, no sustain and a short decay.
Maybe take a lowpass filter, turn cutoff down and resonance up a bit, then assign the cutoff to the same envelope as the pitch.

Tweak the envelope modulation amount, filter resonance, and envelope decay time
Then try adding some reverb, play with mix or wet/dry whatever it's called in your reverb and also decay time for reverb.
 
the sounds are in omnisphere. i dont remember the name of the patch but i seen a guy remake kid inks show me with it.
 
I doubt you'll ever be a good producer if you don't learn a little sound design. Presets are ok but I always feel guilty if I use them because it's cheating a little bit.
I used to think it was cheating too, until I read some discussions about it and thought: My music is aimed at the average joe firstly, not a producer. So what basically happens is: the person listening to the song won't even know you used the "Smooth reese 99" preset of Massive on a song of yours. He/she won't even know what Massive is.
 
I used to think it was cheating too, until I read some discussions about it and thought: My music is aimed at the average joe firstly, not a producer. So what basically happens is: the person listening to the song won't even know you used the "Smooth reese 99" preset of Massive on a song of yours. He/she won't even know what Massive is.

Yes. If there's a preset you want that replicates the sound you want perfectly, use it.
but,
unless your music is very generic and uses all the same sounds found in lots of other tracks, you're going to have a hard time getting hold of the exact sounds you want without the ability to tweak presets.

Besides, you don't have to be incredible at sound design to make useable patches. Lots of nice sounds are really simple.
 
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I used to think it was cheating too, until I read some discussions about it and thought: My music is aimed at the average joe firstly, not a producer. So what basically happens is: the person listening to the song won't even know you used the "Smooth reese 99" preset of Massive on a song of yours. He/she won't even know what Massive is.

Yah but you may find your problem is that you aren't able to reach the average consumer because you cant 'break out' BECAUSE your sound is like everyone else's. I totally get what you mean, and it makes sense. I have thought about it too. But in the end the biggest thing is being different I think.
 
I just wanna mess with this sound.
Not planning to "break out" as a producer using someone elses sound


I found this SAME EXACT sound in Korg M1 Le
 
Yes. If there's a preset you want that replicates the sound you want perfectly, use it.
but,
unless your music is very generic and uses all the same sounds found in lots of other tracks, you're going to have a hard time getting hold of the exact sounds you want without the ability to tweak presets.

Besides, you don't have to be incredible at sound design to make useable patches. Lots of nice sounds are really simple.

so you want to be a goat farmer??????
 
I wouldn't go quite that far :D
It's like learning music theory... not essential, but very useful in many genres and a little bit goes a long way.

haha whaaat? who put that idea in your head? Music theory is very essential, maybe if you learnt more about it you'd realize how essential it is. This is coming from someone who only knows very basic theory and wants to learn more though, so I'm not a pro or anything.
 
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haha whaaat? who put that idea in your head? Music theory is very essential, maybe if you learnt more about it you'd realize how essential it is. This is coming from someone who only knows very basic theory and wants to learn more though, so I'm not a pro or anything.
Well, depends on the genre. If you're making house music, dubstep or dnb, it's not essential at all.
If you're making rock, pop, or hip-hop, basic theory is essential but advanced isn't- you could just use four chords and that'd be fine in many cases.
If you're writing classical music or jazz, advanced theory is essential.

Of course, in all those genres extra theory is useful, just not necessary.
 
Well, depends on the genre. If you're making house music, dubstep or dnb, it's not essential at all.
If you're making rock, pop, or hip-hop, basic theory is essential but advanced isn't- you could just use four chords and that'd be fine in many cases.
If you're writing classical music or jazz, advanced theory is essential.

Of course, in all those genres extra theory is useful, just not necessary.

Look at what you're saying. I don't even know how to respond, your attitude on the subject is blowing my mind haha.

Not essential for house/dnb or dub step? Please..thats the reason why there is so much garbage house/dnb and dub step. It needs that melodic aspect, like ANY music. GOOD trance songs, etc always have a BEAUTIFUL melody to go with it, or playing in the back, or whatever. The generic garbage ones don't. And do you ever hear of people hating on music because the band just sits there 'playing the same chords the whole time?"
Do you realize that lots of the "good" electro and house artists ARE classically trained musicians? Meaning they DO have advanced theory.

I shouldn't have to explain it to you, just the fact that you are saying its USEFUL should be a push for you in the direction to learn it. Drums are USEFUL but aren't necessary. Same with Synths, they're useful..but they aren't necessary. Goes for anything. You don't cut something out because its not necessary, you master it because its useful. Your head is on backwards or something haha.
 
Look at what you're saying. I don't even know how to respond, your attitude on the subject is blowing my mind haha.

Not essential for house/dnb or dub step? Please..thats the reason why there is so much garbage house/dnb and dub step. It needs that melodic aspect, like ANY music. GOOD trance songs, etc always have a BEAUTIFUL melody to go with it, or playing in the back, or whatever. The generic garbage ones don't. And do you ever hear of people hating on music because the band just sits there 'playing the same chords the whole time?"
Do you realize that lots of the "good" electro and house artists ARE classically trained musicians? Meaning they DO have advanced theory.

I shouldn't have to explain it to you, just the fact that you are saying its USEFUL should be a push for you in the direction to learn it. Drums are USEFUL but aren't necessary. Same with Synths, they're useful..but they aren't necessary. Goes for anything. You don't cut something out because its not necessary, you master it because its useful. Your head is on backwards or something haha.
I think 'good' house, dnb and dubstep artists is subjective. Yes, there are generic bigroom producers who know no theory and their music is crap.
There are also non-generic producers who make excellent music and don't use a lot, if any, theory: my knowledge of artists is limited, but I'd say most neuro producers (Noisia, billain mefjus, BSE maybe, almost all 90s junglists and a lot of minimal house artists: Jimmy Edgar, Minilogue, extrawelt)
You don't have to like these artists, but you cannot deny their artistry and innovation.
Perhaps this is ignorant of me, but I don't think there's much theory involved in 'acid trax' and that is considered by some to be the greatest house track of all time.

I do agree that theory is always useful though. It's just not necessary to have knowledge of modes of the minor melodic scale, tritone substitution or hexachords when you're making cheesy pop: use four triads for the verse, four more triads and a key change for the chorus and you're set.

Can I also point out that I know more theory than some. I am currently attempting the chapter in my jazz book on quartal harmony, and well as learning species counterpoint. I'm trying not to sound arrogant here, but do feel that it helps my point a bit.
 
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