Kompany Live Stream 1/25 | Sound design and drops

all right okay all right okay yep in live super live force with that now we wait trying to get the chat pulled up right now super live hey Zoltan my man I feel like this is going to be a super janky livestream it took me a really long time just to figure out audio routing and everything but let's do what we can't welcome welcome I hope everything looks and sounds good so far oh my god that's flashed everywhere that's okay soda water is clean alright I got the chat here on another laptop hopefully it's not like dropping frames well should I post this dude it's been so long since I've known a stream hopefully I still got the sauce I mean it's actually literally been like two or three years cool let's do a little a little sound check yeah some sounds make sure I have to like if I want to play anything out of my computer audio I got to switch the sound flower to something like this and we have a God in our presence Sultan is in the chat everything I do he's going to have a better way to do it so he's been helping me with some really good feedback and I'm actually using this sub trick he showed me so let's think of this thing I'm working on right now but definitely gonna chill for a little bit maybe like five or ten minutes let people Cruise in I have a total of no uploads and I don't really have any subscribers yet so let's let it let it settle [Music] salt and collab someone collab is done and it's fire I will save the stream yeah we'll see how it goes long as I don't mess something up I'm not really familiar with YouTube I know it's it's way different is that too loud I was testing it earlier like so many times and I think I got the balance do you st. between my voice in the sound but if it sounds too crazy um sounds mint loud is good we like loud look I even have it turned down five DB if you want like loud loud we can get their welcome what's up spacesuit alright do you guys have any questions while we're chilling any like production general anything I'm gonna post this on my Instagram real quick so we can get some more people in here swipe up yeah sure drum processing I've always kind of had the same drum processing I had in like the other up sound videos I've done and you know the other live streams I did back in the day where it was just like glue compressor or full parallel and some transient shaping I really like the kilohertz transient shaper it's like insanely I don't know I don't even think I'm using it here I'm just doing some group processing and then like I don't really even have anything on the kit Kix except for the transient shaper but it's like I know that's a lot it just seems really reactive to me I get good results to it I found myself getting a lot of plugins and then I I found myself reusing a lot of killer hearts stuff just because it's so effective cool that's a good question I like that one the filling space in my pre drops because this is something I've a lot of fun with and in this case like obviously we have this vocal here that I got off of splice it says a blonde sound I think I have a couple layers on this like one lower here's the main layer or some soft OTT on here the mids turned off with the time up all the way I'm compressing it a bit and then I think I'm doing some Hyperdimension or comb filtering in here I've some delay and hyper in here something I'll do with vocals 2 for pre drops is I'll actually use like a comb filter with a high resonance to get like a more of a tonal delay type thing so something like if I was going for that bod which I think kind of fits here but the delay I'm using above this is more of a actually like time-based one you know so and then we have this little guy down here and then I'll go over the surrounding elements that are kind of pushing it into the drop this is just I guess more of a mid wide layer I love little altar boy for layers I mess with like the foreman shifting a lot and you can actually like drive stuff really hard in here it's got a cool like crunchy algorithm to it I could even maybe do some like Foreman pitching on this that could sound cool kind of like it's like sweeping through with like some weird filtering or something but yeah without the blind sound vocal we have a lot of like stomps and weird layered bits from twisted tools stuff like that so I'm really cool like whale sounds in this one almost I might actually cut a little more the mids and compress this to get some of those higher artifacts out because all that's really cool if I did some like OTT on it maybe just to really bring out the minor detail stuff got some of the mids I get super kind of tunnel vision sometimes I'm going through stuff but yeah a lot of stuff like that you know stomps I really like these pass by things they're super cool because they pan around a lot from twisted tools so I use a lot of these a lot of like virtual ride effects I use his like I use at least five of his risers in every tune I guarantee there's more in here too but um a lot of stuff like that a lot of like bass drop II kind of Spacey sounds yeah it's all kind of just grouped up in the effects here some mechanical turns and a lot of the times I'll take a lot of this stuff and and have whatever is happening on the impact pitching down and stuff that's kind of coming in transposing up so I'll even do like this sometimes oh my am I allowed to curse on YouTube am I gonna get in trouble that sounds cooler it sounds more like bones breaking in a sense but it's turn the vocal back on yeah that's a lot of what I'll do with space too and I'll do a lot of reverb automation as well another thing that's really important for this drop in particular is I took the first like sample-and-hold bass I have here and I find it with a bunch of reverb and then I have this guy I think I stretched it like double time because if I go over to here it's probably so yeah I like to take that bit and reverse it and print it kind of fade it in I'll do the same thing with transposing this to where I keep it on complex we'll just do like an octave or two down to the root note just so it's like landing right into the drop so it makes it more like a riser but it's still just kind of like it just seems really cohesive when it hits the sound [Music] so that's another cool technique but yeah I like to have fun without just throwing a bunch of different random effects it's a really cool different approach to layering stuff besides bases do you remember you can other dogs yeah I think it's good in any doll I see people use that Melda recorder and they'll just do a sound design session and record the whole entire bit of audio I saw Matt zou doing this on his live streams and that's super smart too filling the frequency spectrum there's a lot of I mean a lot of the post-processing I do like really pushing things hard through OTT and saturation will like beef up a sound to fill more of the spectrum but that's something I get stuck with too is kind of figuring out which part of the spectrum I missing whether it's like stereo or I'm pushing a sound really hard and the sound has a lot of mud so that kind of gets in the way first before it sounds full having good like problem solving for stuff like that is important but I make a lot of layers and I'll try and like fill the area that I think needs work or I'll do really cool like background stuff like you can see I have a lot of background bits in here which I'll usually make out of stuff I'm working with in the patch or all like print the sub til to audio and like try and try and do stuff with the sub like I think I have like this is all white noise here which I'm like distorting through the sub but I also have some I'm using the good old firewall hat loop here some salt and rides you guys got a cop those salt and rods if you don't have them already yeah I use so much of this old impact to you I've actually been really big on splice lately but I definitely have more filler stuff in here I gotta find I've like these string tension type things I make this is the one from my cell movement which are really good as well but I like to have fun with background stuff the same way I do like the pre drop effects type thing and just you can get really creative with it and stretched samples really far out and do like texture warping or a complex Pro and then just mess with a bunch of different effects like comb filters or choruses and dispersor I love dispersor so talkers yeah grain delays crazy I honestly should use that more be cool for layers but whenever I'm using doing layers I like to I to use like crystallizer texture warping serum effects in this case I'm I'm mainly just layering a lot of different sounds like I have this really fluttery guy which he's got some super weird resonances to it it honestly sounds like kind of lame by itself and then another patch that sounds kind of lame by itself just one of these looks it's kind of like a barky bass so these together and then the main sample-and-hold song some more layer stuff this guy so this adds a bit of like a resonant tonality to it as well oh this is the thing I was talking about earlier so I'll also take my sub and flatten it and do some Redux and ring mod and a bunch of different oh TTS some mid side OTT to make this stereo pop a little more and then we can get more kind of different tones out of either the ring mod or the down sample settings so if I wanted more like this I honestly tune by ear like a lot of myself I find I have to tune by ear a lot because I do weird stuff like that and all even take the audio and like always just trying to find something weird by messing around but in this case I think I had the ring mod on which is the main source of tuning because in this section I'm using it kind of as a really long riser so the frequencies like slowly going up I'm cutting these out but it really like drives the track in the background this part I'm just pitching the sample and old around like crazy I've nothing on the master except for a soft clipper but I'm also messing with a lot of these Nero bases I make Nero run so bases like these sorry if that's super loud that was probably super loud let me turn that down in here but I actually like to take these and I have these past the midbass processing because I have some EQ encodings in the muds so I like to actually take these and and clip them a little bit further because they're really blown out already so I will usually like boost the sub with a shelf and then I take out a lot of the highs and I'll I'll blow this out with a saturator and then ott it and then cut and then I like kind of clean it up a little bit more but you can get like really crazy sounds out of this just by blowing it out you know and the barely live dudes are incredible at doing like this it's kind of how I got it a little more dialed in was watching their live streams I've honestly been really really wanting to get on my youtube stuff but I have this one month off tour and have been mainly just buckling down on writing and finishing music because I was really uninspired for a long time so this is kind of my me plunging myself back into more production-based stuff sorry if I missed any questions yeah ring mod what's up kill feed dude's been killing it yeah that's a killer hearts thing but yeah let's mess with this thing see if I can get a cool base out of it so I like to even like further mess with like I'll turn the loop on so I can kind of find the spot I want to mess with sometimes I'll do crazy pitching you can get like really tear like Reece Nero sounding stuff by even stretching these and messing with texture and stuff but yeah check out some of these I have in the net patch currently is some portal glitches I have to like I just have a insane batch of a like stuff I just have had a lot of sound design days cuz I'm not I wasn't crazy and spotted on writing stuff so I still like to like create stuff like this so they're they're super weird and they don't sound as as usable as they are but in this case like I'm using just cuts for growls on the turnaround which are super low mid resonant but I just caught everything else pretty pretty much so they take up a lot of the this one got a little bit of rhythm to it because I took one of the sample-and-hold sounds here and actually did some like filter automation on it I think some like really whippy low-pass I should like like that maybe [Music] yeah so I like these bases for Phil's on this all turnaround I've the drum switch up with it the second drop but always to die please raise their hand [Music] [Music] this is a part I was actually working on before I went live just kind of filling these little gaps in between the so it's a lot of reverb automation on the group here even I have like I've like some some different reverbs and like chorus like the yo man I I've set to like a really high feedback and then I'm doing some delay on that to get kind of like a tonal throw out of it that sounds cool maybe I could automate that to like fall down here something like that and get really picky with kind of minor details like that I don't like to get to tunnel vision there's a lot more going around on in this part I think because I actually resampled the really fast sample-and-hold bass and I'm doing some like a parallel of it an octave up with complex warping to kind of I guess give it a little more air it sounds like and then more of those Nero things just kind of whipping in which gives it more like just accents like that I always use a lot of like that damn already convinced you to get out of FL nice oh we got F in in this bad boy I'm about to be meeting up with him on tour me crazy some little sappy accents I like to I've been using this same zap sample you know the Tissot key laser like so many different so I usually just take a normal I caught of it like this but I love like just like going over the top on messing with stuff like this like I'll put a few dispersers or something oh TT and saturator let's just blow it up I love the Melda saturator or something NASCO showed me sometimes I'll even automate one of the bands on the dispersor or do you like step sequencing with it so you can get like almost like valley EQ movements out of it sometimes have you put another yo man I like I've this rack I made where I'm separating the tops and the mids so the lows come out clean and then I have the crossover set here and the high band has a yo man with like really low frequency on it or feedback sorry and it just gives the top end like that it's it's way more noticeable on like a let's pull him one of those like Nero sounds I was talking about something like this put this on here and it should make it oh no we're lagging it's happening I knew it would come to this is this where I have to start freezing everything is it gonna be one of those streams oh wait I actually kind of wait here this laser [Music] that might even work better because this other one's kind of like busy it's changing around or I could use a bowl it it's free some stuff I think almost everything's frozen and then I can go look at the chat I had ass bag heady collab a sec a year or two ago but we both decided we could do something way better so it's just a matter of time I'm really wanting to do a lot of collabs but I'm so much on my plate and I'm not as efficient with writing with the time that I have as I used to be like it used to be my main hustle I would wake up right all day and I would have this huge back catalogue of music but now I find myself like the inspiration is is a little more spare so I'm I'm I've been doing really good in the past couple weeks but I'm still just in catch-up mode which is really stressful because I feel like I just have a never-ending to-do list yeah I can I can show how I make some of those let me get cozy [Music] now let me let me rinse the rest of this I can drop for you guys and we'll see see if the CPU can handle it and then I can make some of those Nero bases from scratch we're just we have no agenda here I just decided like I was gonna go live on my Instagram and show new music and then I was like if I'm gonna go live like I might as well do some production stuff because I never really get to talk production or you know nerd out like this how how I used to I like teaching so [Music] [Music] this is my favorite part when I when I kind of take these little gaps and start doing start like really putting those neuro sounds to work this one like fading in is one of my favorite kind of like burps in the beginning this is also like one of those I remember doing something cool with these so to get all of the tone out of this look at this I'm like doing some weird actually I'm doing like grain size because I have this stretched three times so it's at 600 beats per minute and then pitched up to seven flux all the way down in the grain size out around 50 but you can see I can get a lot of like ooh kind of like it a little higher and I kind of made a little motif out of this like brown so that all kind of flows on this little fill here with the I just love having these to cut up and I can kind of just keep it on loop mode and like [Music] [Music] I'm just a just one single boy but I monetize me you to see if I care some reverse glass I reuse a lot of the same symbol loops and all like layer them I have some somatic samples some D cap samples some sultan samples but the main thing kind of driving it is I guess this like there's a couple of the symbols from firewall I know this has other things in it like more like rhythms but I just like caught up a few of the symbols I liked and all this is being sawed chained as well I don't know why there's only one ride every uh a couple bars it's just me hi this is like really new song so just messing with that but um still a little messy but it's it's coming together really quick will drum pole action [Music] I use volume shaper for sidechain you all want to see this curve I see this sweet sweet curve like that copy it study it become one with the curve how did I make the base for firewall the base for firewall I think it was something I'm gonna do a really like bootleg version of what what I think it was I know it was something a bit unorthodox like mostly it was mostly off of the resonance on the filter but I know I was using one of the VR tables and FM in it with like a crazy high-pitched salt wave it was like a single cycle one I remember because I couldn't really mess with it anymore but anyways for now we can just use something basic like I really like the phase verb phase verb there's something with a lot of like more mid frequencies like this and then a lot of FM from a assault wave but it was like not only four octaves up sick five octaves up it was actually like aliasing really high cuz I was uh using the LFO to like crank the sync to hopefully this doesn't so something like that where I got a little bit of like squeak out of it but the tuning was really particular it was something like even higher pitch where it was getting a weird like overtone on it and then a lot of it was from I think like a really high resonant low-pass filter which is a lot of like kind of what I'm doing with the really gun bass in this one is like a lot of its just really resonant something like this yeah I think I'm going to stir it to save this stream and then I had comb filtering - this was just kind of on one LFO so when you distort a sound like this with a lot of peaks you kind of you get the the pleasantries out of it it's a really weird way to use our word as you can see I still use command F religiously I don't ever click to search for anything I'm always like command F OTT BAM drop it in boom firewall VIP incoming but for real firewall VIP incoming do more things it was bandpass or something or high-pass it was like this yeah so I made like several layers of the same sound mainly just like I would take the high bass and print it I like to resample like directly from the channel I'm working on so it bypasses any group processing or like the soft clipper on the master even stuff like that so so this is going to the mids which is why it got turned down so much but if it goes to the sidechain bus like the 12 serum I got it in from it should be completely identical so now we can actually maybe make a cool like texture layer out of this same thing I did before I just like to double-time it stretch it maybe use crystallizer and set the dry/wet to 100% wet turn off the MIDI sync and kind of mess with the I [Music] don't know sometimes I'll just sit there and mess with that for too long there's something like that don't get too tunnel vision on that I have no drum processing other than transient shaping I just use good samples it does sound kind of hydraulic cool I'm gonna work on this a little bit if it doesn't log super hard let me close out of Google Chrome boom that should help a little bit I'm also going to turn on the air conditioning because MacBooks their mole throttle really hard so if my MacBook gets hot it will pretty much just stop working I want to fix up this transition a little bit so added this like layer to the vocal here but it's way too much ring mod so I always have this utility on my master that I pop into mono when I'm doing a lot of mix down stuff and in this case like if I wanted to show you so you figure out which version of this I want to be a little more stereo I guess the altar boys having a lot of stereo so can try and do something like this this door let's also group this up and compress these together oh those are going to the master so send these to the group and then send the group to the master I do a lot of weird routing I sometimes I like bone myself in the mix down process I'll be still really confused and then one general mud removing EQ I just wanted to be I want it to be like very background II but I also think I need another like sweeper impact here [Music] [Music] like I sweep up it's good some sort of downbeat here stop [Music] I love the decap stuff I want to use more of these pass by effects I spam them this one's cool let's give that a little reverb automation into the brake so it's not as abrupt I hope the fan isn't super annoying in the background [Music] well this a little louder I'm gonna open this filter up a little more I think my favorite EPA I had done is the metropolis one with take it all in firewall I had so much fun writing those songs and they came together really quick it was really natural let's do some transposition I found good vocals in all cappellas and splice packs or I record my own but that's never not cringe it's always cringe at least to me only only to me like hearing them hearing my own voice like skull crack is my voice but I think it sounds crazy it sounds a little better being pitched up like that I'm already cold we all wish to die please raise their hands [Music] [Music] there's a lot of clipping from the Nero bases but I love it it's a bit much on this specific one I think the sub might be going at the same time nope just really really loud I think it's cuz the portal one has low end - yeah Jesus I'm keeping it no I'll turn this one down a little more [Music] I sometimes I find a cool vocal in splice and and you can do they have a feature on there it's like Seymour sounds like this that helps sometimes but if there's anything you guys want to see if you want me to do some sound as I'm from scratch or go over post-processing or you know make some of these Nero sounds I can try I haven't made a batch like this in a while but it's super fun and I do it all with audio actually a lot of these come from either like bass one shots of mine or just sine waves like sine compression I might have some yeah I don't know but I have so many my catalog now like if you type in portal or even if you just type in Kampf like look at this library look at that it just keeps going these are glitches I wonder these are like very Buffy eatery weird and a lot of these ad geez these are all like fully fully processed serum racks with you know everything ready to go actually find these very usable I used to use these alien ones the most but now I'm on to the Nero and portal ones I think the portal ones are my favorite it's a lot of disperser and vocoder and ott and and then I print it and stretch it I don't make any base glitches in serum if I do I'm gonna I mean we can but it would it would be me making some sort of weird sound in serum and then printing it and kind of like doing the post-processing and stretching with that signal more than actually using serum itself I don't really aim for anything in Lu FS I kind of do it all by ear I never really checked that metering wise I check my RMS just because that's what I'm used to bass layering in this case I'm doing like quite a bit of layering but in this case I think I was mostly just throwing sounds in I started with like these two or in this case I think they're they're back here and then I was like you know experimenting with the top end which is when I landed on more sample and old and I've like a bunch of different variations of the of the patch that are kind of moving around as you can see this the the mids group is like a little bit hefty not as hefty is my like normal dubstep tunes are this one's like a bit more simple but it all came together really cool yeah let's see if there's anything else I want to do to this one mr. Dai please raise there [Music] hmm I kind of want this like pitching here but it's like in this case what I did to get this this transition was I just resampled the bases so load and just pitched them up in audio with a bunch of washout just to push it into the next section [Music] and the intro and everything is really eerie it's a lot of like contact stuff but I took that main sample and Oldtown and kind of made this like I want to say melody with it but it's really just a super stretched grain like I'm doing like grain automation on it to get it to kind of feel like it's deteriorating as the intros coming the low-mid power is coming from saturation and ott it's just falling apart and then I actually printed that and brought it into a sampler when I did like looping so it's kind of a cool transition and then I have these guys filtering in as well [Music] my reference makes that I reference mix downs all the time I feel like referencing mix downs is totally fair and normal and everyone does it it's when you're like directly ripping an idea on purpose you know a lot of the times I'll even like start with messing around trying to replicate someone else's idea and then you kind of have the foundations for a track and you can kind of go in and be a little more creative with it and even swap out all the sounds and all the rhythm rhythmic elements but once you get it like full and sounding good it's a lot easier to do that [Music] the sub I have this rack called sub hub on there that Adair gave me but um it's pretty chill it's just like a plain sine wave but some some sauce that Leno gave me I think he shows it in his live streams but if he doesn't I don't want to piss him off [Music] [Music] yeah this transition sounding a little better I think it needs a little more like I literally just need like a transition element so when I do I just type in transition and use like Kashmir stuff sup hub hahahaha the Burlington Kyle Factory are you guys looking at my my secret folders the bus back project would just implode upon opening it's way too big I'm gonna open a new project and we can make some sounds I probably won't do it super long livestream today because I don't have anything planned and I just I don't want to be sitting here like doing nothing but I pretty much have the same template I've always had the trigger and the bus the drums you know everything's down minus 15 and then 15 up on the master just gives me a lot of headroom within the group and I actually added this utility on my master that solos the sides which is really helpful you not have anything panned or mixed right now now that one was mixed I don't really pan very much make some old bro step it's the UH the Burlington Coat Factory man ten-hour stream let's do it marathon stream bass arranged man I don't really know what to do for that it's cool to like beatbox out a rhythm you really like and just recreate the sounds you know let's make some weird we can start with serum how's this smell I still really like these FM tables I just kind of rediscovered them well that looks like it's gonna sound obnoxious but it could be good for making weird stuff let's actually put something really easy in here simple animal fm it was one of those crazy ones I'm getting cold but my laptop is cold too which is good because then it won't freak out as much help with intros I mean knowing some music Theory's really good even if it's just really minimal stuff but start with a lot of pads and maybe like a progression and if you don't have contact I'd highly recommend getting contact or Alma sphere because it just it's like makes writing intros really smooth and I feel like I don't have to spend a bunch of time picking the right sound like everything kind of lands and and feels nice these are cool so I'm just gonna make one long MIDI note right now and we'll draw a bunch of weird automations let's just start a journey of town designed together I've no idea where this is going or if it's gonna be good or not but maybe we can get another batch of portal sounds or neuro bases I will save the stream just something really long and weird with this round two in packs just blow it out let me know if it gets too loud I'm not like super own on track of gain staging and stuff right now especially when I get really creative I like to like throw different ideas and stuff like that in my effects chain and layers and stuff like that so we're gonna try and get some weird audio signal that we can mess with here so let's do something like this I don't know give it more pinch or we can automate the pit pinch too so we'll just be getting progressively more dispersed and some pitch automation I normally don't approach writing glitches this way but I mean that's that's kind of like glitches in in their own like you got to have a weird approach to doing them let's distort this peak of the bandpass oops I can't touch that it's being automated [Music] a little weird I wonder if we can automate do something crazy course all the way that might be too much Bend cool let's print this so I'm just gonna duplicate it freeze and flatten it and I kind of work in this like stepping-stone way for glitches and sometimes just sound design sessions in general see we got here like to take a good good look at the waveform this doesn't look like anything too crazy honestly there some cool like frequency shifting something like that a little bit of fine tune I have the dry/wet automating around who knows what's going to happen next and then let's vote code it check out some of these this might lose a lot of the mids and stuff so let's just blow it back up maybe some filtering after the road perhaps really just drawing random shapes I've no plan here let's start blowing it out actually let's do let's do a portal run so for this next part it can go a lot of different ways like I've had a lot of these resampling Zhai just like end up deleting but I'll just like loop this a bunch times and we'll put a disperser we'll put some weird stuff like [Music] dispersor one more OTT let's put a portal before all of this and then let's just go through some presets and the either the sound designer the glitchy ones the bass ones it's honestly really touchy and I've made a few of my own presets I don't know if it ever saved but it's in a project file like I have a lot of project files I'll go back to and I want to do sound design like this but it's also really fun to do from scratch so see we can find a good preset in here [Music] and honestly I'm just gonna record and bounce around through presets and let's get this in from this and bought a boom sorry [Applause] [Applause] [Music] [Music] [Music] [Music] [Music] SiC okay cool pretty good run honestly like right off the bat we don't have to get to resample e right now cuz I will I've honestly gotten super stoned and gotten stuck on my headphones just doing that just making faces for like hours it does sound like diarrhea you know but in a good way in a cool way in a funky fresh way sometimes sound design you got to get a little you gotta get a little wacky a little goofy a little kooky look at all this gold and then a lot of the time I'll rinse and repeat the same kind of stuff but I mean if you listen to a lot of these cuts you can do some so let's let's like blow it out again like I was saying so EQ give that low-end some love let's notch out some of the really muddiness and let's also shelf the highs cuz we're gonna you know where's that dirty dirty little seven prepare prepare for explosion we'll probably do some more filtering in between here - all right so I'm gonna duplicate this and turn this one off delete all of this and kind of just like drag down little parts I want to mess with and we can even uh or something like notching probably unlike the these are this area just like mess around cool man it can get crazy after this I'll stretch the whole sample going to texture and just kind of start cutting out loops or I look for really low-end spots like like these you know and there we have it so this one is actually panning around a lot so what I'm gonna do just try and get a good like mono bounce of this and I can just give it the old render render Douglas so and now I'm just on a rampage of resampling [Music] messin with different warp modes you know sometimes I'll do like really crazy transposition I really like to hold down option and I can just scroll through the whole thing to get this back in the filtering because that notch filter does quite a bit find cooler bits a lot of the time I like more like resonant subby stuff just cuz I can get really near OE bits out of it what is this gargle see this could be cool if I were to kind of run it through the same processing again so sometimes it just be like that that's such a weird waveform but you know that's how it goes in the glitch world [Applause] sometimes I'll get really cool sounds like like when I get a really unique waveform I can often get really cool like textures out of it like stuff like this like some bandpass or something on this [Music] yeah no no could be cool I don't play piano so I can't do that yeah but it's generally the process these guys are cool maybe I can bring them down in this bottom one and see if anything happens this guy's got to be moving this whole spot I could probably make some weird like Phil out of it you can see like if I go into my Nero thing it's it's mainly just me finding my favorite cuts [Music] like even this pretty cool the loop function is just really helpful for this kind of a workflow base shots for days that's a really cool one base shot - and I just like keep rendering them and then I folder them try dispersor at the beginning of this evil laughter I have these sessions a lot more often when I'm uninspired I never really get full-blown song ideas off of them but then I have just a bunch of ammo for fills mainly and layers like these are surprisingly cool to layer this one has a nice like low-end I'm talking about do the same process take out a lot of the highs [Music] then we explode it we can even mess with the like depth of the mess around with the saturator a bit more it's always good to like filter a lot with these kind of bases - that's cool I like this first bit you can even like make it a little cooler with some reverb automation but it's just so aggressively clipping but that's how those other sounds were in the lequip I was messing with very Terry may be cool stuff company jerseys it's a good idea yeah do you guys have any more questions with weird glitch bases I'll even take these in dude you can even take this and put it back in the portal and then just go back into resampling super but you know you're gonna cut like that I would use that you know we can even automate this boy you know the more automation stuff like that the better we can go into the EQ here and uh use some of these boys I guess an OE you would sound good so I like to turn off the well not turn off this one I'll switch it to a notch or a bell whatever and then you can modulate the scale around and then now that I have this spot with like some automation here let's do something like more like low to high maybe there's nothing cooler to me with like then like a bunch of really cool EQ movements and stuff like that going on what else can we do serum effects definitely do something in here let's use a band reject got some resonance and let's do some modulation automation on the the the width here cool now I can just literally bounce a bunch of different cuts in this little section because I can just go in and press loop and now we have the the band reject is giving it just a very forced tonality so I would have to do like different what's cool is you can put actually like a LFO here with a random amount oh oh dear I forget how to use this random and a map it to this that's a lot there's a lot going on right there I don't know if I like that made something angry oh it's too air conditioning cool fun stuff thanks LFO hardstyle 150 let's get it I haven't messed with all Mossad I've heard it's really cool I couldn't really make a drop with these but I could definitely I could definitely use them in a drop like really easily and like right now I'm not gonna take the time to but I'm definitely gonna go through this later and cut out my favorite bits I even find like really percussive bits really helpful so I'll probably get a lot of good stuff out of here honestly and I'll probably put it in a splice pack for you guys I feel like these kind of sounds are really fun to use [Music] [Music] high-pitched legato bases I did some of that earlier I went over the firewall base but those are pretty easy it's just like FMEA with a really high octave on oscillator B and it's all up on the live stream I'm gonna save it so you can just go back and re-watch that section I didn't make like the crazy space out of it but you know it's good stuff only been streaming for I could even do like a little bit of a feedback stream later but I'm probably going to call this one soon if you guys have any closing questions or things you'd like to see before I wrap up maybe I can like play some new stuff um I actually really like to use the aggressive low-mids to like have these cut through in the mix down I'll have them bypass like all the group processing and stuff like that and use them kind of like as accents you know almost like the percussive laser thing like the I'll take like bits like this for that instead I'll even just take it and pitch it around I I just feel like there's so much fun to mess with when it comes to doing further audio sound design take off your hoodie I'm cold why would I take off my hoodie I'm cold you guys seen that cat I love that cat oh I can play some clips there's something I want to play but I can't pull up the name of it but I can pull up the project file don't look don't look don't look everybody look away nothing to see here well almost blew it I want to save this which is from LS LS stands for livestream big brain short in my project files you know don't look don't look look away look away mind your business Oh I looked verax has been banned from the stream this is a revived collab from like almost two years ago but I went in on it it's sounding nuts just gonna play short clips I want to get stuff out of my Dropbox but if I open that up you know what you guys are getting uh-oh can you see is that is that working like shut you guys out sneaky snakes trying to get into my Dropbox guys are you guys are something else oh it's not live on my okay we're back just like that it's a really old project file but um no pre drop yet let's just give it a quick little rinse [Music] don't rip it [Music] [Music] so this is this is the Jam where I would uh start throwing some sort on some Nero yeah and you can see when I search in my ALS for these two there's all the freezes of them you can see I even used one in this in this song I was like a young clay er for the good old joke joke joke joke you like my beatbox interpretation this one's actually ended up being pitch dark so it's more of a tonal layer but you can see we got a lotta you got a lot of tonality stuff going on here alright yeah I was using a yo key reference track and this like two years ago but I ended up kind of referencing more of my newer a flat stuff alright so let me open up a project file where I can I can just load in some clips for you guys you can hear the new stuff I'm working on ha doo-doo-doo-doo doo-doo-doo-doo oh I can show you guys that little phone tap Drum & Bass thing I'm working on one wonky day it's it's something weird at a really weird like sound design session pretty sure it's this the low end was pretty much the same as the other tunes you know just a sine wave and then couple different layers of distortion it's upside clops thank you guys for all chilling by the way this is such a random stream so I appreciate everyone tuning in it'll probably be the first thing chilling up on my on my youtube so I'll definitely do more in the future with more of an agenda you know things I'll go over but I'm kind of just chilling going through stuff and worked on another project earlier it'll it'll all be able to view so yeah this one was fun this one was fun and really weird because all the main bases were like look at these resonances is actually just like really crazy ring mod and stuff I think yeah ring mod moving around so I can get a lot of different Tambor's out of this oh I think this is the 150 version so I made a dubstep drop of this too yeah this one's cool too I'm gonna make this one like not a phone tap thing and then the drum and bass one's gonna be a phone top have the little firewall layer in here see in this case we need some spice so let's go ahead and using the same saw by using bus back here Dadda dododo send mrs. Sarge aim because I'm too lazy to move it to the mids group and that's how we're gonna get crazy right now I'm gonna do that Redux thing I did earlier OTT weird sure OTT normal yeah mid/side bring it on now we got to knit let's make this stereo it's like completely mono right now so I'm just gonna give it a little bit of house effects and then kill a hearts stereo which is like you can pretty much do the same thing with the Ableton utility but push it a little harder on the sides and I'm gonna take this same sub and group it up with some white noise and then we'll get into the drum and bass folder because you know give me that pixel white noise shout-out to pixel terror group up this up and the white noise so when the sub and the white noise is grouped up together when you distort it you'll get a lot more crawling crunch I came to get some crumbs and then we're gonna cut all the lows out and use this as like a as a blown-out layer [Music] again we're gonna stereo this a bit so this this stuff should all make a really like big difference on this legato part which is the part that needed the most work so without the things I just added it's like this but this guy needs to be tuned cool I'll save that and yeah it's cool one but all of these sounds are really weird because they're all they're all like from this glitchy something thing I don't know about this one dinosaur is it okay not a very cool sound but but whatever these ones are my favorite just cuz who these EQ is like I just screenshotted this and sent it to a few people's like check this post processing change oh it's dead what happened while you die drum and bass edition don't look company expertly alive I'll only collab with fake barely live no way barely lovesick those eq's are hilarious so this is the same project file coming in that I flipped a little drum and bass thing of it actually had a lot of fun it's definitely super whip whip II reloading started streaming 90 minutes ago maybe I'll try and go for like two hours and then call it I hope watching back this wasn't all like super worthless I hope there's some useful stuff on here could you show you how you program the sidechain bus so it's super easy I have one audio channel that's set to in where all my groups are set to go to that oh that already sounds kind of confusing the way I described it and then I have a trigger with an external instrument that just sends the MIDI to that so every time it gets a trigger it's gonna it's gonna sidechain anything going through 175 74 I'm trying to use the phone but I'm trying to use it very fast [Music] [Music] it's super scrambled like mostly this part is mostly me just trying to find phrasings that I like so I'm mostly like doodling a lot of like fills aren't aren't done yet one thing that really filled this out for me was I think it was like a Teddy killer's loop where is it where's that bad boy it's kind of like a Philly boy one Philly boy a yd boy here it is so I took this FX which originally sounded like this turn turn turn which is cool it's like very metal but I just like made it into like a it's almost like a ride but like it just drives the stereo really hard it's very dissonant sounding it's like it sounds like the psycho strings a little bit with some crystallizer here just kind of just retuning it but my favorite part is the little wonky neuro bit [Music] because this was all just me messing with a super mangled audio it's down four octaves almost I don't know why it sounds the way that it sounds more little Teddy killers loops because I was like I'm in 174 I got to use some tight Achilles stuff but this is all still really messed with so an example someone was asking earlier how I would use some of the bass shots that I had made like let's pull some of them in and let's set these to set these two just go straight to the side chain and I'm actually gonna find like a little percussive bit of one of these louder maybe this part so I kind of like will trim it like this this one's cool cool so I'll take like a cut like that and I'll get like a Melda saturator you know right right away she blown out so so it adds out sick boom like it's kind of like I don't know it's like drummer intuition it's kind of like hitting a Tom but the tom is just like the the most up neuro sound ever like so I could do something like that which would be cool - didn't cool I mean there's more there's more stuff I can hop through definitely but kind of good way of showing how I would implement a sound like that but this honestly needs a little more like it needs like a phone tip phone so maybe would sound better without they're a little puffier though it's more like - growling just go through on the second part and use a different cut so cool save see we're just bouncing in project to project some gas some fire do you guys want to hear something pretty something gorgeous yes I come with the K though you know so it's on brand as a drummer I get this all the time when I produce but just haven't known how to make those sounds till now oh for sure I'm glad that's helpful man you can really like use a bunch of different things there it's all about just experimenting and blowing things out I mean it doesn't really matter if my EP is on disciple or never say die or self-released it's gonna be my like same style no matter what so you know doesn't really matter who much like who I released with as much just as long as like it's gonna be me you know like I just hope people think the same way I love working with Tom and he's a bet he's a badass let's see your other project well that's what half back to the screen of death for a second death screen death screen screen of death ooh ooh-hoo I don't know if I can show that I can show this oh it's in the track it's literally in the effing track all right you guys are done being in timeout welcome back welcome back versa don't look don't look that's the worst one so far know who's ready for the world world premiere world exclusive you're tuning in [Music] what is happening what is happening what is happening [Music] this is a super old version let's open the project let's open the project cinematic see I remember when I name something weird at least I remember what it's called airhorn baby you're tuning into crumble radio crumble radio crumble I need like a sound board with all the UH all the Goofy's goofiness alright gotta turn off the AC I'm cold yeah look at all these references you're not allowed to see blip blip blip blip this is the first song i've done that is all serum or no serum it's all just that audio warping so I I started with this one sound which is actually 115 audio oh oh oh 15 audio 1 it was like the oldest version of this oh god what am i doing too many sounds something like one of these and I just kept like like this initial kind of patch of it is all just like mad with but yeah even like these bits are all like this 2828 up that was the magic number I didn't mess with this or do that by ear I just knew to put this exactly 228 big brain if you're not big brain if you're small brain I would appreciate if you just leave the stream Oh Siri what's up I'm good right now thank you so yeah a lot of just tuning by ear and little bits like that all of this is from the same sample but they're all kind of stretched in different ways I really like this percussive bit and I kind of clipped these a little harder than I should have and even have like other cuts of this so it's kind of all together got this cool swingingest to it like what what so it's kind of it's kind of like I don't know a lot of this Nero stuff going on down here and I named this folder ha because I I just wanted to like drag it into other project files because I use this a lot this part actually drives it a lot and it's just the same portal bases like mega stretched but I flattened these I believe this one might not be nope they're flattened so let's rinse it really quick [Music] [Music] so yeah the the crunchy stuff is my favorite but I did like a little response flow this is the one I posted a clip of I actually got this vocal from like a scratch pack or something so here's the OG I'm a spritzel I'm trying side with no breath left so it took me a really long time to actually get that like warping on point [Music] I'm just using like a salting kick I'm pretty sure yeah oh why there's a frequency shifter on it that makes me angry it makes me angry that there's a frequency shifter on my kick when I don't want it there I didn't ask for this yeah I'm not even doing like the normal kind of group processing I would on my drums here it's just Melda saturator and that's it good sample selection about a bing bada boom thus amplifier collabs not ready to play on stream yet I got a stem it out for him I've been like super lazy on doing that Wow none of that is ready it's actually I think that's when I rage quit that's when I was like cool song didn't want to cooperate trashcan no I'm not gonna trash this I'm just gonna mess with it no I like the I like the drums mixed how they are big brain utility sidechain and I'm also sad chaining and through the bus so to the shadow realm for a second see what else I got and we're gonna call it quits quitsies I guess I'll save it sometimes I reproduce with like soft clip but like in this particular project and like some of my favorite make sounds like stomp and rapture we're just clipping super hard you know yeah I do reverse stuff into snares all the time like Foley and mechanical sounds mainly soft Clipper I think is the best bet for master stuff oh are you guys still in the Shadow Realm you guys want to hear this collab with effin you fools you've walked right into my trap you guys know the horn I want [Music] [Music] whoo let's go crumble Radio you're now tuning in [Music] [Applause] [Music] Charlotte effin dudes crazy [Music] I gotta I gotta actually so this the song says a bad word right here alright there too [Music] I'm a head of it I'm one step ahead always [Music] [Applause] [Music] [Music] [Music] I'm gonna make that actual render you guys want to hear the second drop the second drop is crumble first drop was his [Music] this is the portal glitch is coming into play right here listen to all these bad boys the dolphin ones would be funny I definitely got some dolphin sounds you know that's the South African dolphin indigenous to the south of Africa all right we're making a base out of it this beautiful weight form you're Scott chills looking at it sounds like someone ripping ass with like no let's do it let's do it this is my last thing so we're going all out we'll keep the fartiest part of it I never thought I would use the word fartiest before I could listen to that on loop all day can you have the dolphin snare see where it's from and then you can go get it da da da da I will give you the dolphin snare it's from some folders someone gave me now we're getting there [Music] can you just like yeah give me some of this hanging with hang in there hang in there we're gonna we're gonna get somewhere with this really good this is really good probably my best sound I've ever made can we get a D in the chat for dolphins when times get going tough you should do the damn thing sometimes if you put some bandpass before the crystallizer and ott you can get like a really redux e does that happen explain to me the science behind this oh wait I don't need to know Big Brain dolphin equals MC joy yeah so we'll call eliminate tell I'm angry at him for not being here that could be a cool like Phil bass - well it's got a really cool stereo to it let's save it sometimes when I get something really weird like this and it's very automation driven you can just take the group folder and drop it in like a folder you have like I have a company bits folder and in here I have like fully like like parts from my songs that I didn't want to like change you know like ALS is like part of the project file that you can actually just drag right in cuz like say I had this weird LFO laser pluck thing here and it sounded really cool the way I had it and I want it exactly like that I just dragged the ALS over and then because you can see there's some filter going on here so something and then I have it exactly like that when I want it and I can kind of mess with it further it's really muddy I never realized how muddy things were until I started working on speakers again I was like suck on headphones which sucks cuz that's what I'm using 80% of the time [Music] Sam design writers walk I find I will break when I I mean you ever you have a bunch of things you can do a lot of the stuff I did in this stream wasn't even in a synth it was weird audio stuff there's a lot of OTT saturation stretching layering with different pitched versions you know messing with where it sits in the stereo field messing with things like crystallize or portal dispersor serum fx-format filtering texture warping you know it's all I feel like a lot of people get really tunnel vision done like writing a dope synth that's coming out of serum and then it sounds better with the post-processing on it but it's like ma'am I can't remember the last time I used that as my main source of like my my synth workflow I've been really audio kind of centered lately quick lead from serum serum why not quick lead from dolphin quickly from dolphin just happened where what were you from the dolphin we're gonna wrap this up unless I have one more ID for you guys Shadow Realm BRB of something at 140 but I don't know if I should release it so let me show you guys yo but thank you guys so much for tuning in this was so random and spontaneous and cool and quirky and informative hopefully it's cold in the dark I'm sorry guys I don't like I don't like putting you there it's not like something I enjoy doing but you know it's like when you have to go to the grocery store and you can't take your dog with you I'm not saying I'm not saying you guys are dogs but I'm saying you're like animals that belong to me [Music] malthael ladies you know man let me find the air horn I'm paying again because I can't find the air horn there it is alright thank you guys for tuning into chrome boat radio though really good session thank you guys really yeah if you guys want to drop a K in the shot I'm not I'm not saying I won't kick you if you don't [Music] actually we're gonna need a K in the chat and then I'm gonna need an F in the chat because this project file is completely broken but I think I might be able to salvage enough of it to do something cool so enjoy guys this is the last plate I'm playing today I'm gonna go through all the comments on the actual video itself to see what I should do for tutorials and the next livestream because I don't want to just sit and like this was just such a dick around session so let me know what you guys want to see [Music] Chiqui outro next stream one uh next stream when I'm off to her I go on tour on Wednesday I'm gonna be meeting up with nightmare on the bus tour we're gonna be hitting a bunch of dates hopefully I can see Ubuntu you guys there meet about you guys you know I do go to the merch booth or like out in the crowd after my set like 80 to 90% of the time sometimes I'm really tired or really worn out and I'm just not feeling it but like I always try and make the most of it you know meet as many of you guys as possible you know the face to face connection and getting to chill and and talk about the show and just hang out for a little bit is really cool so hopefully I'll see you guys there it's gonna be really sick I I saw a lot of people asking about what what sound system he's gonna bring I'm not entirely sure but I know it's insane I know FM was just on it and the shows looked crazy so let me use these last couple of days I have off to just try and like get some new ideas going because I have a lot of stuff that's really playable right now that I'm just gonna try and finish up but um yeah thank you guys a lot for tuning in cool [Music] the only suitable outro is just to go full fulcrum bow for a second soak it in while you still can alright bye bye

Channel: Kompany

Views: 17,277

Rating: 4.9845362 out of 5

Keywords:

Id: XfRu-9G6ntg

Length: 129min 13sec (7753 seconds)

Published: Sat Jan 25 2020